UCSB   LIBRARY 
X- 


LIBRARY 

THE  UNIVERSITY 
OF  CALIFORNIA 

SANTA  BARBARA 


PRESENTED  BY 

MRS. 
ERIC  SCHMIDT 


STUDIES  IN  MUSICAL  HISTORY. 


Hn  aSbucatinal  (3ante 


c 


COMPOSERS,     MUSICAL    LITERATURE 

AND 

THE     ELEMENTS     OK     CRITICISM. 

o  o  O  o  o 


FOR  INTELLECTUAL  AND  REFINED  AMUSEMENT  AND    PROG- 
RESS IN  GENERAL   MUSICAL   KNOWLEDGE  ACCORDING 
TO    A    SYSTEMATICALLY    GRADED    COURSE. 


DESIGNED  AND  PRACTICALLY  DEVELOPED 

— ~f(M    THE__ 

USE  OF  MUSICAL  STUDENTS  AND  AMATEURS, 

BY  W.   A\.    DERTH1CK, 

A  uthiir  L>f  the  "Altinual  of  J/«j/V," 

.    .    ASS1STKK   HY  .    . 

W.  S.   B.  MATTHEWS,  A.  }.  GOODRICH, 

JOHN  S.  VAN  CLEVK,  SIGNOR  E.  DE  CAMPI, 

LOUIS  C.  ELSON,  CALVIN  B.  CADY, 

JOHN  C.  FILLMORE,  E.MIL  LIEBLING, 

FREDERIC  G.  GLEASoN,  AUBERTINE   W.   MOORE. 


CHICAGO: 
MANUAL  PUBLISHING  COMPANY, 

415   DEARBORN   STREET. 

1891. 


"I  Vvili  poi7t  v|ou  out  t9e  rigljt  pat?  of  a  pare 
ipoble  fiducatioip — laborious  iipoeeo  at  first 
but  else  so  sr^ootl?  a^o  greeip  aijo  full  of  goool^ 
prospects  370  r^elooious  sou^os  09  eVer^  si6e  tl^at 
tlpe  ^arp  of  Orpheus  is  ^ot  r^ore  clparr^i^g." — MILTON. 


IS'.'l, 
I'.V 

W.  M.  DKKIHK  K. 


INTRODUCTION. 


In  preparing  the  accompanying  Studies  in  Musical  His- 
tory the  author  has  endeavored  to  combine  the  pleasures 
of  a  refined  amusement  with  a  practical  and  efficient 
means  of  education.  It  is  well  known  to  educators  that 
the  mind  in  its  earlier  stages  of  development  is  rarely 
disposed  to  serious  and  prolonged  application,  nor  even 
at  a  more  advanced  stage  is  it  easily  awakened  to  the  at- 
tentive contemplation  of  unfamiliar  subjects.  Interest  is 
the  first  requisite  to  success  in  all  study.  How  to  arouse 
interest,  thereby  securing  attention  without  effort,  is  the 
most  important  problem  that  presents  itself  to  the  teacher; 
and  to  awaken  the  mind  from  its  apathy  and  indifference, 
and  to  divert  its  activities  from  idle  and  aimless  pursuits 
into  the  %i  Klysian  fields  "  of  learning,  is  an  object  well 
worthy  the  most  ambitious  effort.  The  principle  in 
Froebel's  philosophy,  which  renders  his  system  of  teach- 
ing so  successful,  is  that  ktthe  function  of  education  is  to 
develop  the  faculties  by  arousing  voluntary  activity." 
This  he  accomplished  by  providing  for  his  pupils  "a 
graduated  course  of  exercises  modeled  on  the  games  in 
which  he  observed  them  to  be  most  interested."  In  these 
games  the  acquisition  of  knowledge  and  the  discipline  of 
the  mind  were  apparently  made  subservient  to  the  grati- 
fication of  a  natural  desire  for  amusement;  but  the  lesson 
was  none  the  less  lastingly  inculcated,  and  the  faculties 


INTRODUCTION. 


pleasant  Iv  exercised,  by  these  emulative  and  instructive 
exercises. 

It  is  said  of  .John  Locke,  author  of  the  celebrated 
treatise,  upon  "The  Human  Understanding,"  that  the 
part  of  his  advice  which  made  most  impression  upon  his 
contemporaries  was  his  method  of  teaching  reading  and 
arithm.  tic  by  means  of  well  considered  games.  The 
principle  and  the  device  are  much  older  than  these. 
Plato  in  hi>  laws,  speaking  of  Kgy  pi ,  says:  "  In  that 
country  systems  of  calculation  have  actually  been  invented 
for  the  use  of  children,  which  they  learn  as  a  pleasure 
an .1  an  amusement.  They  have  to  distribute  apples  and 
garlands,  adapting  the  same  number  to  either  a  larger  or 
a  le<s  number  of  persons;  and  they  distribute  to  pugilists 
and  wrestler*,  or  follow  one  another  or  the}'  pair  together 
by  lot.  Another  method  of  amusing  them  is  by  taking 
vessels  of  gold  and  brass  and  silver  and  the  like,  and 
mingling  them  or  distributing  them  without  mingling. 
As  I  was  saying,  they  adapt  to  their  amusement  the  num- 
bers in  common  use,  and  in  this  way  make  more  intelli- 
gible to  their  pupils  the  arrangement  and  movement  of 
armies  :md  expeditions,  and  in  the  management  of  a 
household  they  make  people  more  useful  to  themselves 
and  wide-awake." — Jowett's  Plato,  "The  Laws,"  p.  815. 

Thus  it  would  appear  that  the  greatest  educators  and 
philosophers  have  chosen  games  as  the  most  natural  and 
efficient  means  of  attracting  the  attention  of  students  to 
subjects  pre-enting  at  first  little  or  no  interest  for  them, 
and  the  success  of  such  institutions,  as  the  Kindergarten, 
fully  demonstrates  the  practical  effectiveness  of  this 
me!  hod. 

The  Studies  herewith  presented  have  grown  out  of  the 
author's  experience  in  his  various  works  of  a  musical 


/.  V77?  OD  UC  TTON. 


character,  as  in  the  course  of  his  contact  with  the  musical 
public  he  has  found  that  in  spite  of  the  vast  amount  of 
"  taking  lessons  "  in  music,  which  exists  in  all  parts  of 
the  country,  there  is  little  or  no  attention  given  to  cer- 
tain phases,  which  ought  to  enter  into  every  study  of 
music  deserving  the  name.  He  refers  to  the  history,  and 
literature  of  music,  and  the  principles  of  criticism,  upon 
which  alone  a  sound  musical  taste  and  intelligence  can  be 
founded.  These  subjects,  so  important,  and  so  deeply 
interesting  in  themselves,  are  almost  entirely  neglected, 
and  this  not  alone  in  the  smaller  centers,  but  even  in  the 
most  important  musical  centers  of  the  country.  The 
average  music  student  is  profoundly  ignorant  of  musical 
history  and  unversed  in  its  literature. 

If  he  is  so  fortunate  as  to  make  a  practical  acquaint- 
ance with  certain  compositions  of  one  or  more  of  the 
greater  masters,  the  selections  are  detached,  and  learned, 
and  forgotten  as  unrelated  incidents;  a  piece  by  Beetho- 
ven, or  Bach,  or  Chopin,  standing  in  this  respect  but 
little  different  from  one  by  Sidney  Smith,  or  the  popular 
writer  of  taking  salon  pieces  of  the  da}".  Moreover,  even 
if  the  student  by  reason  of  natural  taste  or  good  teaching 
should  happen  to  prove  an  exception  to  this  sweeping 
statement  in  the  instance  of  one  or  even  two  sonatas  of 
Beethoven,  the  two  pieces  stand  detached  still,  and  as  a 
rule  neither  the  pupil  nor  the  teacher  know  whether  the 
particular  sonatas  chosen  represent  the  composer  in  his 
greater  or  lesser  flights.  Still  less  does  the  student  con- 
ceive of  the  sonata  as  part  of  the  manifold  tone-poetry 
of  the  great  master.  In  point  of  fact,  there  is  much 
good  reason  for  this  deficiency ,  since  in  spite  of  the  many 
books  which  have  been  written  in  this  country  concern- 
ing music,  there  is  hardly  one  affording  this  information 


vi  OfTHODUCTfOff. 


(unless  the  author  bo  permitted  to  claim  an  ^xceptiou  in 
his  Manual  «/  Mimic,  which  was  expressly  written  to  fill 
this  void.)  Biographies  we  hare,  for  students  and  for 
scholars,  commentaries  on  the  proper  way  of  playing  the 
•Treat  er  works  of  the  great  masters,  and  many  other  ex- 
cellent things  for  the  aid  of  musical  students:  but  the  in- 
quirer seeking  for  the  best  and  representative  works  of 
tin-  irreatest  masters  will  be  driven  to  make  up  his  selec- 
tion unaided,  or  as  the  result  of  his  own  studies. 

Still  more  noticeable  is  the  difficulty  if  the  student 
happen  to  desire  to  know  which  are  the  chief  wor.ks  of 
all  the  great  composers  in  any  one  particular  province  of 
music .  Here  again  he  is  driven  to  make  his  selection  by 
There  is  no  work  in  which  this  information  is 
found.  In  certain  provinces,  or  more  properly  in  cer- 
tain side  lights,  there  is  indeed  aid  in  several  quarters. 
as  for  example  in  Mr.  "NY.  S.  15.  Matthews'  "How  to 
Understand  Music."  where  the  representative  ph: 
music  are  with  considerable  reference  to  this 

:ain  of  its  aspects;  but  it  was  not  a  part  of 
the  intention  of  that  very  popular  and  interesting  work 
to  answer  the  majority  of  the  questions  contained  in  the 
manual  accompanying  the  present  set  of  studies. 

Miu-h  is  said  among  amateurs  concerning  "  sonatas  " 
and  ••symphonies."  Surely  it  is  not  a  great  deal  to  ask 
"Which  are  the  greatest  productions  in  these  two  depart- 
ments of  music?"  Yet  ask  the  first  student  one  meets 
and  the  chances  are  that  blank  ignorance  will  be  the  dis- 
covery. '-What  are  the  leading  chamber  works?"  Why 
is  not  this  a  valid  question?  Is  not  much  said  over  and 
over  airain  concerning  the  beauties  of  this  department  of 
music  ••  Which  are  the  great  opera-?  Who  AYCIC  their 
compo>ers?  In  what  respects  are  these  leading  works 


INTRODUCTION.  vii 

alike,  and  in  what  different?  What  is  the  ideal  of  opera? 
What  the  ideal  of  chamber  music?  What  is  concerto, 
and  how  does  it  differ  in  form  and  character  from 
chamber  music?  What  is  oratorio,  and  what  are  the 
greatest  works  of  this  kind?  Wherein  are  these  great 
works  alike  and  wherein  different?  Would  it  be  possi- 
ble to  compare  their  merits  by  a  scale  of  valuations 
based  upon  their  possessing  or  missing  the  most  in- 
dispensable qualities  of  works  of  this  kind?"  Surely 
all  these  are  legitimate  questions.  What  is  the  chrono- 
logical order  of  the  greater  composers?  What  are  the 
principal  forms  in  music?  What  is  a  fantasia?  What 
are  the  greatest  concertos?  Who  were  the  composers? 
Which  concertos  are  best,  and  why?  Is  there  anything 
unreasonable  in  such  questions  as  these?  What  would  be 
thought  of  a  student  of  literature  who  found  himself 
unable  to  give  an  approximate  list  of  the  greatest  writers 
in  the  language  in  which  he  had  been  studying?  Yet  in 
music  the  corresponding  knowledge  is  very  rare.  There 
arc  also  many  other  questions  which,  although  not  so 
obvious,  are  nevertheless  important.  For  example: 
What  are  the  principles  of  the  beautiful?  What  is  meant 
by  ••  classical"  in  music?  What  are  the  tests,  which  being 
passed,  entitle  a  composition  to  this  rank?  What  is 
"romantic"  in  music?  The  nomenclature  of  music  con- 
tains man}-  words  of  this  character,  signifying  distinctions 
no  less  subtle  than  important;  they  are  used  daily  by 
students  and  amateurs  with  no  proper  knowledge  of  their 
real  meaning,  and  in  connections  which  expose  to  silent 
criticism  all  those  who  thus  ignorantly  employ  them. 
These  are  a  few  of  the  thousands  of  questions  which  are 
asked  and  answered  in  the  Studies  herewith,  and  answered 


INTRODUCTION. 


in  such  a  manner,  with  such   clearness  and  definiteness , 
as  to  be  easy  to  fix  in  the  memory. 

The  information  in  the  accompanying  studies  is  suffi- 
cient to  fill  quite  a  good-sized  volume.  Let  us  consider 
it  more  in  detail.  The  cards  are  arranged  in  classes, 
eight  or  sixteen  cards  in  a  class,  according  to  the  import- 
ance and  magnitude  of  the  subjects.  There  are  sixteen 
cards  devoted  to  the  opera.  Here,  as  in  all  other  in- 
stances, the  cards  are  of  two  kinds,  general  and  special. 
The  general  cards  are  devoted  to  defining  the  qualities 
of  the  particular  province  of  music  to  which  they  belong. 
In  opera,  for  instance,  there  is  a  card  called  "Character- 
ization of  Opera,"  giving  in  very  succinct  form  the  ideal 
proposed  in  this  form  of  art.  Another  general  card. 
"Definition  of  Qualities  in  Opera,"  explains  the  meaning 
of  the  analysis  of  qualities  given  in  the  comparative 
valuations.  This  analysis  is  as  complete  as  it  was  pos- 
sible to  make  after  consultation  with  a  large  number  of 
the  foremost  musicians  and  musical  writers  of  this  coun- 
try. The  text  is  valued  as  to  its  musical  fitness  and  its 
dramatic  opportunity;  the  music  as  to  its  spontaneity, 
elaboration,  dramatic  truth,  and  adaptation  to  the  voice; 
the  orchestration  as  to  its  beauty  of  tone  color  and  its 
dramatic  strength.  There  is  yet  a  farther  element  of 
comparison  in  the  scenic  demands.  The  specific  cards 
in  this  set  take  up  the  fourteen  great  representative  operas 
(allowing  only  one  to  each  composer).  There  is  a  short 
sketch  of  the  history  of  the  work,  and  a  general  estimate 
of  its  place  in  art.  Besides,  there  is  a  "  qualitative  ana 
lysis,"  in  which  the  work  is  marked  on  a  scale  of  ten  in 
••••ii'h  of  the  qualities  mentioned  in  the  "  Definition  of 
Qualities."  These  valuations  are  approximate  only  and 


INTRODUCTION. 


must  be  so  understood;  nevertheless,  they  have  been 
made  by  some  of  the  most  competent  critics  in  America, 
and  revised  with  great  care,  and  finally  averaged  from 
the  results  of  many  individual  valuations  made  inde- 
pendentl}-.  "Whatever  dissent  may  be  taken  from  one  or 
the  other  particular  rating,  the  valuations  in  the  main 
are  just,  and  afford  a  new  and  important  assistance  to  the 
intelligence  in  comparing  different  works  with  each  other, 
and  measuring  their  approximation  to  the  proper  ideal  of 
opera.  I  may  say  further,  that  when  the  plan  of  these 
qualitative  valuations  was  first  proposed  to  musicians,  it 
was  rejected  unanimously;  nevertheless  I  found  by  talk- 
ing with  different  critics  that  their  estimates  of  great 
works  were  approximately  the  same  or  similar,  a  fact  in- 
dicating the  tacit  recognition  of  certain  inherent  qualities 
of  the  works,  and  certain  standards  of  valuation.  On 
farther  study  and  consultation  I  was  pleased  to  find  that 
my  idea  began  to  appear  practical  to  these  gentlemen, 
and  after  some  time  and  many  changes  we  arrived  at  the 
definition  of  qualities  and  valuations  on  the  cards.  If 
the  cards  in  the  opera  set  be  arranged  chronologically 
the  student  will  find  that  the  progress  towards  complete 
opera  is  very  manifest,  from  the  recitative  of  the  first 
opera,  Peri's  uKurydice"  to  the  splendid  endless  melody 
of  Wagner's  "Tristan  and  Isolde."  It  will  be  noticed 
here,  and  especially  in  certain  departments  yet  to  be  con- 
sidered, that  the  valuations  are  high,  10  's  appearing 
quite  frequently.  This  is  explained  b}'  the  fact  that  only 
masterworks  of  the  different  periods  and  schools  find  a 
place  here  at  all. 

Class  D  is  devoted  to  Oratorio.  There  is  one  general 
card,  defining  the  qualities  and  the  ideal  of  oratorio,  and 
giving  also  a  bird's-ej-e  view  of  its  histxny.  Then  follow 


INTK  ODUC  TION. 


seven  special  cards,  each  devoted  to  one  representative 
work  of  this  class.  Here  again  the  information  is  given 
that  the  student  naturally  needs.  First  as  to  the  cir- 
cumstances of  the  production  of  the  work,  and  its  period. 
Then  a  general  estimate  of  its  merit,  and  reference  to  its 
most  important  musical  numbers.  In  this  way  are  treated 
Hit-  first  oratorio,  Cavaliere's  "Representation  of  the 
Soul  and  the  Bod}-, ' '  Bach  Passion  Music  j  the ' ' Messiah, ' ' 
•'Creation."  "Mount  of  Olives,"  Spohr's  "Last  Judg- 
ment," and  "Elijah."  In  this  department  the  principles 
of  sacred  music  are  contained  by  implication,  and  the 
works  chosen  are  those  which  mark  the  highest  flights  of 
music  in  the  direction  of  the  sublime. 

Class  E  again  takes  up  the  Symphony,  the  highest  type 
of  instrumental  music.  Here  as  before  there  is  a  general 
card  defining  the  ideal  proper  to  this  form  of  art,  and 
affording  a  succinct  account  of  the  history  of  sym- 
phony. Then  follow  seven  specific  cards  each  devoted 
to  a  particular  masterwork,  with  its  history,  its  qualita- 
tive analysis  and  a  general  statement  of  its  place  as  a  t3'pe. 
or  representative  of  the  class.  Tho  composers  represen- 
ted arc  Mo/art.  Haydn,  Schubert,  I Jeethoven,  Mendel- 
ssohn 1-is/t,  and  Saint-Saens. 

Class  K.  is  devoted  to  the  Concerto.      There  is  a  o-en- 

S 

;-r:il  card  defining  the  qualities  and  the  ideal  of  this 
form  of  music,  and  giving  a.  general  idea  of  the  manner 
in  which  the  concerto  had  its  origin, and  thedirection  of 
its  progsess  to  the  highest  point  reached.  The  works 
chosen  are  the  very  greatest.  Beethoven's  "Emperor," 
Chopin  E  minor,  Schumann  A  minor,  Mendelssohn  G 
minor,  l.is/.t  E  flat  major,  Saint-Saens  in  G  minor,  and 
I'aganini  in  E  minor.  Kaclv  of  these  comes  up  for  its 
history,  its  general  points  of  excellence  and  superiority, 


INTRODUCTION. 


and  a  qualitative  valuation,  whereby  comparisons  are 
facilitated  between  different  works. 

Class  G  treats  of  the  Sonata  in  the  same  manner.  Be- 
sides the  general  card  defining  the  qualities  of  the  sonata 
and  giving  a  general  idea  of  the  history  of  this  form  of 
art  ,  seven  specific  cards  follow  devoted  to  C  .  P  .  E  .  Bach  's 
sonata  in  F,  Mozart's  sonata  in  C  minor,  Ilaj'dn's  sonata 
in  D,  Beethoven's  Appassionato,  Schubert's  sonata  in  A 
minor,  Weber's  sonata  in  A  flat,  Schumann's  sonata  in  G 
minor.  These  works  are  compared  with  each  other  as  to 
their  melodic  spontaneity,  harmonic  strength,  thematic 
development,  formal  beauty,  depth  of  meaning,  fitness 
for  the  instrument  and  pleasing  quality.  In  the  cards  of 
this  set  and  the  next  following,  the  various  writers  have 
been  peculiarly  fortunate  in  bringing  out  the  poetic 
implications  of  the  works  discussed,  wherelrv  the  analysis 
is  elevated  out  of  a  mechanical  estimate  into  the  realm 
of  pictorial  and  poetic  suggestiveness. 

Class  H  deals  with  chamber  music,  the  highest  type  of 
instrumental  music  for  selected  audiences  and  performers 
of  artistic  quality  working  together  in  self-forgetfulness 
towards  a  mutual  end.  There  is  first  a  general  card  de- 
fining chamber  music  and  its  sub-divisions,  giving  also  a 
short  history  of  this  form  of  art.  Then  follow  seven 
specific  cards  devoted  to  masterworks  in  this  department. 
They  are  Grieg's  quartet  for  strings  in  G  minor,  Beetho- 
ven's string  quartet  op.  131  ,  Schubert's  quartet  in  D  minor 
("  Death  and  the  Maiden  "),  Schumann's  quintet,  Saint- 
Saen's  quintet,  and  Rubinstein's  trio  in  B  flat  major,  and 
Brahm  's  quartet  in  D  minor  .  These  beautiful  tone  poems  , 
"of  finest  ray  serene,"  are  discussed  in  a  fortunate  man- 
ner, affording  at  once  a  basis  of  comparative  valuation, 
and  a  suggestion  of  their  poetical  qualities. 


xjj  INTRODUCTION. 


Class  I  is  df  voted  to  songs — that  form  of  music  so  near 
the  daily  needs  of  the  amateur,  }ret  so  far  from  discrimi- 
nating good  lastf.  Here  the  same  plan  is  followed  as  in 
the  pivcvding  classes.  After  the  general  card  defining 
the  ideal  of  this  kind  of  music,  and  the  qualities  which 
enter  into  its  success,  there  is  a  brief  historical  view  of 
the  growth  of  the  song,  and  the  phases  of  the  ideal  dis- 
tinguishing the  principal  classes  from  each  other.  In 
this  department  there  was  such  a  wealth  of  material  that 
it  was  peculiarly  dillicult  to  reduce  the  selections  to  the 
number  of  seven,  and  still  afford  a  general  view  of  the 
subject.  After  many  consultations  with  different  experts 
in  Hi  is  department,  the  following  list  was  selected  as  on 
the  whole  embodying  the  best  practicable  representation 
within  the  narrow  limits  proposed.  The}'  are  the  "Ade- 
laide," of  Beethoven,  "He  the  Noblest,"  of  Schumann, 
the  "Krl  King,"  of  Schubert,  "Palm  Trees,"  by  Faure, 
"Non  e  Ver,"  by  Tito  Mattel,  "  Home,  Sweet  Home  " 
and  "The  Lost  Chord,"  by  Sullivan.  These,  as  before, 
are  described,  characterized  and  analyzed  for  purpose  of 
comparison.  It  might  possibly  have  been  better  to  have 
extended  the  number  of  selections  in  this  department  in 
order  to  include  representatives  of  the  Franz  songs,  and 
the  later  French  and  German  lieder,  but  as  the  number 
of  subjects  pressing  for  recognition  was  very  great  in  the 
aggregate,  it  was  thought  that  the  types  represented  in 
the  selections  admitted,  practically  cover  the  ground. 

The  foregoing  list,  long  as  it  is,  embracing  six  pro- 
vinces of  music,  the  most  important,  and  no  less  than 
fifty-six  masterworks  in  these  departments,  is  far  from 
completing  the  scope  of  these  studies.  Long  before  the 
earliest  of  these  masterworks  was  produced  (in  1GOO), 
there  had  been  an  art  of  music  which  prepared  the  way 


INTRODUCTION.  xiii 

for  these  later  achievements.  There  is  no  illustration  of 
the  law  of  progress  more  brilliant  than  that  shown  in  the 
art  of  music,  if  we  take  it  from  the  earliest  appearances 
of  the  art,  more  than  4,000  years  before  the  Christian 
era,  in  Egypt,  down  to  the  time  when  masterworks  in  the 
modern  sense  began  to  be  composed.  Hence  class  A  is 
devoted  to  the  antiquities  of  music,  in  which  music  itself 
is  defined  and  a  table  of  its  qualities  given  upon  a  gen- 
eral card,  with  a  bird's  eye  view  of  its  entire  history  and 
its  great  epochs  and  their  relation  to  each  other.  Then 
follow  seven  specific  cards  devoted  to  the  representative 
moments  of  the  ancient  art  of  music,  from  that  of  the 
ancient  Egyptians  down  to  the  period  of  Hucbald,  the 
first  theorist  who  gives  musical  examples  in  musical  no- 
tation— and  consequently  the  first  writer  whose  music  can 
be  understood  accurately  as  to  its  scale  and  the  order  of 
its  melodic  rnake-up.  The  subjects  are:  Ancient  Egyp- 
tian music,  of  which  a  running  account  is  given,  and  a 
memorandum  of  their  instruments,  together  with  an  anal- 
ysis of  qualities  (in  so  far  as  they  can  be  inferred  from 
the  illustrations  remaining,  several  of  the  most  important 
of  which  are  given  in  the  present  volume) ;  ancient  Greek 
music  with  an  account  of  the  classic  drama;  ancient  Hin- 
doo music  with  an  account  of  the  Hindoo  drama  and  the 
principal  instruments  of  their  music;  a  general  card  de- 
fining early  Christian  music;  St.  Ambrose,  St.  Gregory 
and  Hucbald.  These  celebrated  names  are  placed  accord- 
ing to  their  influence  upon  the  art  of  music,  in  the  light 
of  the  best  information  attainable,  and  the  characteristic 
points  of  their  doctrines  are  given . 

After  Hucbald  we  enter  upon  a  more  advanced  period 
(class  B,  mediaeval  music),  tending  more  nearly  towards 
the  principles  of  art  now  in  force.  The  topics  are  medi- 


INTRODUCTION. 


jeval  secular  music,  Franco  of  Cologne  and  Franco  of 
Paris,  with  qualitative  analyses  of  their  music,  Dufay 
ami  early  polyphony,  the  great  Netherland  writers  of  the 
next  period,  Okeghem,  Josquin,  Willaert  and  Gombert; 
Martin  Luther  and  the  Protestant  chorale,  Orlando  Las- 
sns  and  his  place  in  art;  Falestrina  and  pure  church  music. 
These  two  hooks  of  sixteen  cards  contain  the  gist  of  the 
information  usually  occupying  more  than  a  volume  in 
the  large  musical  histories,  and  the  condensation  and 
clearness  of  the  present  statements  will  be  highly  appre- 
ciated by  the  student,  I  am  quite  sure. 

Nor  have  we  yet  exhausted  the  information  covered 
by  this  set  of  studies.  There  are  still  sixteen  other  gen- 
eral cards,  devoted  to  separate  points  of  general  infor- 
mation concerning  music,  and  the  less  important  forms 
of  musical  art  ,  such  as  amateurs  often  desire,  yet  find  it 
very  difficult  to  locate.  The  topics  are  the  principles  of 
musical  form,  the  fantasia,  the  fugue,  the  etude,  songs 
without  words,  the  madrigal  and  its  related  part  songs, 
the  nocturne,  the  principles  of  the  beautiful,  the  classical 
in  music,  definitions  of  the  romantic,  miserere,  requiem, 
te  deum,  principles  of  pronunciation  of  French,  German 
and  Italian  words,  literary  interpretation  in  musical  aes- 
thetics, musical  history,  reasons  why  it  should  be 
studied.  Each  of  these  treated  analytically  and  historic- 
ally. in  such  a  way  that  the  reader  is  furnished  with  a 
synopsis  of  existing  knowledge  upon,  the  subject. 

If  now  we  review  these  six  great  departments  of  music, 
represented  in  the  studies,  for  the  purpose  of  observing 
the  representation  made  of  the  greater  composers  in  their 
different,  kinds  of  composition,  we  find,  as  would  be  an- 
ticipated, Ileet.hovrn  at  the  head,  he  being  represented 
upon  the  instrumental  side,  where  his  supremacy  was 


INTRODUCTION.  xr 

greatest,  by  a  symphony,  siring  quartet,  concerto  and 
sonata;  and  upon  the  vocal  side,  where  he  was  less  great, 
by  an  opera,  oratorio,  and  is  mentioned  upon  the  mass 
card  and  song.  Mozart,  also,  who  was  one  of  the  uni- 
versal musicians,  is  represented  by  an  opera,  his  requiem, 
symphony  and  a  chamber  quintet.  Schubert,  again,  is 
represented  by  symphony,  sonata,  string  quartet  and  :i 
soiig.  Mendelssohn  is  represented  among  the  composers 
of  oratorio,  symphony,  concerto  and  a  general  card  de- 
voted to  the  song  without  words.  AVeber  is  represented 
among  the  composers  of  opera  and  pianoforte  sonatas. 
Schumann  is  represented  on  the  cards  devoted  to  concer- 
tos, sonatas,  chamber  music,  songs,  and  is  especially  rec- 
ognized upon  the  general  card  devoted  to  the  romantic. 
Haydn  is  represented  among  the  composers  of  the  orato- 
rio, symphony,  including  especial  recognition  in  the 
general  card  as  founder  of  this  form,  and  sonata.  Liszt 
figures  in  the  departments  of  symphony  (symphonic 
poems),  concerto,  and  is  mentioned  in  the  card  devoted 
to  the  transition  from  the  romantic  to  the  realistic  and 
sensational  (see  principles  of  the  romantic.) .  Some  of 
the  very  latest  composers  are  represented  here  in  several 
departments,  as  Saint-Saens,  who  figures  as  composer  of 
symphonic  poems,  concertos  and  chamber  music.  The 
total  number  of  composers  represented  is  forty-five,  and 
it  is  demonstrable  that  these  names  include  all  of  those  of 
the  very  first  importance  in  music,  whether  we  estimate 
according  to  beauty  of  compositions  or  their  historical 
interest. 

I  may  add  that  these  cards  have  been  written  by  experts, 
and  represent  the  latest  and  most  authoritative  conclu- 
sions upon  the  several  subjects.  It  should  be  observed 
further,  that  the  information  here  embodied  is  not  com- 


xvi  INTRODUCTION. 


mon,  and  much  of  it  cannot  bo  found  in  encyclopedias, 
but  is  the  result  of  original  study  by  the  several  experts 
furnishing  it. 

It  will  be  seen,  moreover,  that  we  not  only  furnish 
this  vast  amount  of  information,  in  clear  and  simple 
form,  but,  which  is  much  more  to  the  point,  the 
>»i  iiii-'iiis  i >f  which  it  can  be  ac<ji«'r<'<{.  i>(<'<ix<utt.lii  l»j  o 
students.  This  will  appear  more  plainly  by  reading  the 
directions  for  conducting  the  game,  especially  the  "  re- 
quirements of  the  progressive-  grades;"  or  still  better  by  a 
carefully  conducted  trial  of  it  according  to  the  directions. 
It  will  then  be  found  that  in  the  earlier  exercises  the  at- 
tention is  concentrated  upon  a  select  part  of  the  entire 
series,  the  cards,  namely,  which  concern  themselves  with 
vocal  music.  The  general  range  of  this  field  is  acquired 
by  the  pupil  unconscious  to  himself,  and  during  the  first 
seven  exercises  nothing  is  expected  in  the  way  of  infor- 
mation beyond  the  general  matters  at  the  top  of  the  cards . 
AVith  the  eighth  exercise  (or  grade)  the  work  begins 
upon  the  questions  for  bringing  out  the  information  in 
the  text.  With  the  next  grade  another  class  is  added, 
ami  so  on,  one  point  after  another  being  brought  out, 
until  at  the  fortieth  exercise  the  class  is  supposed  to  have 
mastered  the  information  upon  the  entire  ninety-six  can  Is. 
Those  who  have  done  this  will  be  able  to  comply  with 
the  requirements  of  the  higher  grades,  and  will  receive 
a  current  interest  upon  their  expenditure  of  study  and 
patience  in  the  way  of  immediate  success  in  acquiring 
valuable  "books,"  for  precedence  in  the  game.  All  this 
will  become  apparent  by  noticing  carefully  the  grading 
requirements  and  the  directions  in  regard  to  "  acquiring 
cards."  Or  by  conducting  a  short  trial  in  any  one  ol 
the  higher  grades,  permitting  (for  the  sake  of  the  experi- 


INTRODUCTION.  xvii 

ment)  the  players  to  refer  to  the  text  in  answering  the 
questions  required  for  gaining  cards  from  other  players. 

It  will  also  be  found  that  such  is  the  interest  and  at- 
tractiveness of  the  subject  matter,  and  such  its  variety, 
that  the  present  game  shows  itself  far  more  interesting, 
and  far  more  varied  and  fascinating  in  its  practical  ap- 
plication, than  any  game  of  authors  or  other  similar  in- 
vention hitherto  introduced.  This,  which  the  student 
will  eventually  discover  for  himself,  has  already  been 
so  thoroughly  demonstrated  by  the  many  trials  that  have 
been  made  of  the  present  studies,  that  the  author  does 
not  scruple  to  mention  it  in  this  place;  since  whatever  of 
interest  there  may  be  upon  the  cards  is  so  largely  due  to 
the  eminent  musical  gentlemen  who  have  so  heartily  co- 
operated with  him  in  preparing  them.  In  this  list  should 
be  included  not  only  the  authors  of  the  specific  text  upon 
the  cards,  identified  by  initials  affixed,  and  elsewhere 
given  in  full  (see  contents) ,  but  also  quite  a  number  of 
others  who  failed  to  find  leisure  for  formal  contributions, 
but  who  have  been  of  important  service  by  suggestions, 
advice,  and  occasionally  by  valuations  in  special  depart- 
ments. Among  these  are  Signer  Eliodoro  De  Campi, 
Prof.  C.  B.  Cady,  Mr.  John  S.  Van  Cleve,  Mr.  Louis 
C.  Elson,  Prof.  John  C.  Fillmore,  Mrs.  Aubertine 
Woodward  Moore,  Mr.  Frederick  Grant  Gleason,  the 
well-known  composer  and  scholar,  Mr.  A.  J.  Goodrich, 
Mr.  Emil  Liebling,  the  teacher  and  pianist,  and  Mr.  W. 
S.  B.  Mathev. 

Many  others  were  invited  to  co-operate,  but  their  copy 
was  received  too  late,  or  the}'  found  it  too  difficult  to 
condense  their  ideas  into  the  limits  here  practicable.  But 
while  personalty  not  appearing  in  cards  bearing  their  ini- 
tials, many  of  them  were  of  great  service  with  advice 

2 


xvjji  INTRODUCTION. 

and  suggestions,  which  they  were  not  able  to  put  into 
writing,  owing  to  a  press  of  professional  engagements. 
Among  these  Mrs.  Sara  Hershey-Eddy  deserves  especial 
mention . 

I  feel,  moreover,  that  I  ought  to  make  special  men- 
tion of  the  aid  contributed  by  the  well-known  writer, 
Mr.  W.  8.  B.  Mathews,  who,  besides  the  cards  bearing 
his  signature,  has  co-operated  with  me  at  all  stages  of 
the  work,  and  in  several  cases  has  been  of  peculiar  service. 
To  all  these  gentlemen  I  am  obliged  for  the  hearty  and 
efficient  quality  of  their  co-operation.  The  eminence  of 
their  names  has  placed  an  additional  duty  upon  me  to 
fully  complete  the  plan  of  the  work,  and  mature  the  dif- 
ficult features  of  it  before  allowing  it  to  come  before  the 
public,  to  the  end  that  no  failure  might  ensue  from  some 
omission  of  detail.  For  this  reason  the  studies  have 
taken  considerably  longer  to  prepare  than  was  expected, 
but  I  feel  quite  sure  that  the  students  will  have  no  reason 
to  regret  the  delay . 

The  employment  of  certain  terms,  ordinarily  associated 
witli  games,  which  make  no  pretentious  to  higher  pur- 
|K>ses  than  mere  amusement,  will  be  regretted  by  quite  a 
number,  as  well  as  by  myself.  It  was  inevitable,  how- 
ever, that  a  game,  in  which  success  is  measured  by  the 
players'  aptitude  in  obtaining  and  retaining  certain 
groups  of  cards  (representing  certain  definite  parts  of  the 
field  of  knowledge  covered  by  the  studies),  should  avail 
itself  to  a  certain  extent,  for  greater  clearness,  of  terms, 
some  of  which  have  been  designed  originally  to  cover  a 
much  less  noble  kind  of  triumph. 

I  will  add,  further,  that  I  will  at  any  time  be  pleased 
to  communicate  with  any  who  desire  to  make  suggestions 
or  criticisms,  or  who  desire  information. 

W.  M.  DERTHICK 


LIST   OF  .S7V>'JA-C7VV. 


LIST  OF  SUBJECTS. 


CLASS  A.     ANTICJIMTIKS  OF  Music. 
Definition  of  Music.     Its  beginnings. 
Ancient  Egyptian  Music. 
Ancient  Hindoo  Music. 
Ancient  Greek  Music. 
Early  Christian  Music, 
St.  Ambrose  and  early  Ecclesiastical 

Music. 

St.  Gregory  and  his  reforms. 
Hucbald,    Diaphony,    Organum   and 

Notation. 


W.  S.  B.  Mathews.  P. 
W.  S.  B.  Mathews.  13 
\V.  S.  B.  Mathews.  18 
W.  S.  B.  Mathews.  20 
W.  S.  B.  Mathews.  23 

W.  S.  B.  Mathews.  'JM 
W.  S.  B.  Mathews.  i>4 

W.  S.  B.  Mathews.  24 


CLASS  B.     MEDIAEVAL  MUSK. 

Mediaeval  Secular  Music  W.  S.  B.  Mathews.  26 

Guido.     Solmization  and  Start'.  W.  S.  B.  Mathews.  26 

Franco  of  Cologne  and  Franco  of  Paris.  W.  S.  B.  Mathews.  27 


L.  C.  Elson. 


L.  C.  Elson. 


Dufay  and  early  Polyphony 

okejrhem.    DCS  Pres.    Willaert    and 
Gombert. 

Martin    Luther    and    the    Prote.-t.-n.T 
Chorale. 

Orlando  Lassus  and  his  place  in  Art.    L.  C.  Elson. 
Palestrina  and  Pure  Church  Music.       L.  C.  Elson. 


28 


29 


W.  S.  B,  Mathews.  30 
30 
31 


CLASS  C. 
Characterization  of  Opera. 
Definition  of  Qualities  in  Opera. 
Eury  dice — Peri . 


W.  S.  B.  Mathews.  83 
W.  S.  B.  Mathews.  33 
L.  C.  Elson.  34 


xx  LIST  OF  SUBJECTS. 

Tanrrrdi— Monteverde.  L.  C.  Elson.  35 

Armide — Lulli  A.  J.  Goodrich.         35 

Teodora  —  Scarlatti.  A.  J.  Goodrich.          35 

Orpheus— Gluck.  F.  G.  Gleason.          36 

Don  Giovanni — Moxart.  F.  G.  Gleason.          37 

Fidelio — Beethoven.  A.  J.  Goodrich.          37 

l>er  Freis.-hnet/— Weber.  W.  S.  B.  Mathews.  :!S 
William  Tell— Rossini.  E.  de  Campi.  ::s 

II     -uenots — Meyerbeer.  W.  S.  B.  Mathews.  :>'.» 
Lucia  di  Lammermoor — Doui/ctti.  E.  de  Campi.  39 

Faust— Guonod.  W.  S.  B.  Mathews.  40 
Aida— Verdi  A.  J.  Goodrich.         40 

Tristan  and  Isolde — Wagner.  F.  G.  Gleason  41 

CLASS  D.     ORATORIO. 

Definition  of  Qualities  and  Charac.ter- 

i/ation.  W.  S.  B.  Mathews.  -VI 
Representation  of  Soul  and  Body — 

Cavalie.v.  J.  C.  Fillmore.  43 

Passion  Music — Bach.  J.  C.  Fillmore.  44 

Me.-Mali-  Handel.  W.  S.  B.  Mathews.  44 

Creation— Haydn.  .1.  ('.  Fillmore.  45 

Elijah— Mendelssohn.  W.  S.  B.  Mathews.  46 

Mount  of  Olives — Beethoven.  W.  S.  B.  Mathews.  47 

Last  Judgment — Spohr.  W.  S.  B.  Mathews.  47 

CLASS   K.     SYMPIIOSI  . 

Definition  of  Qualities  and  (.'liararter- 

i'.al""".  C.  15.  Cady.  411 

Oxfo.,1      Ilnydn.  J.  S.  Van  Cleve.        ;>4 

Jupit.-r— .Mn/arl.  J.  C.  Fillmore.  50 

C  Minor— Beethoven.  J.  S.  Van  Cleve.       r,\ 

-    'fell  A  Minor— Mendelssohn.  E.  Liebling.  :>l 

C  M.-ij.n— Srlmbert.  J.  C.  Fillmore.          52 

Li-s  I'reludes— Liszt.  W.  S.  ]',.  Mathews.  54 

Dance  of  Death— Saint-Saens.  A.  J.  Goodrich.         53 

CLASS  F.     CONCERTO. 
Definition  of  Qualities  and  Character- 

i/:ltion-  W.  S.  B.  Mathews.  56 

E  Flat— Beethoven.  \V.  s.  B.  Mathews.  57 


LIST  OF  Sl'BJECTS. 


XXI 


E  Minor — Paganini. 
G  Minor — Saint-Saens. 
E  Minor — Chopin. 
(r  Minor — Mendelssohn. 
A  Minor — Schumann. 
E  Flat— Lis/t. 

CLASS  ("J .     SONATA. 

Definition  of  Qualities  and  Character- 
i/atiou. 

E  Flat— Haydn. 
C  Minor — Mo/art. 
Appassioiiata  -  Heethoven. 
A  Minor — Schubert. 
G  Minor — Schumann. 
A  Flat  -Weber. 
F— C.  P.  E.  Bach. 


W.  S,  B.  Mathews.  62 
60 

E.  Liebling.  58 

60 

E.  Liebling.  58 

K.  Liebling.  61 


C.  B.  Cady.  63 

C.  I',.  Cady.  64 

.).  S.  Van  Cleve.  IF, 

.1.  S.  Van  Cleve.  66 

C.  I!.  Cady.  66 

.1.  S.  Van  Cleve.  67 

\V.  S    15.  Mathews.  69 

.!.  S.  Van  Cleve.  68 


CLASS  H.     CHAMBER  Music. 

Definition  of  Qualities  and  Character 

i/ation, 

Trio  B  Flat— Rubinstein. 
Quartet  for  Strings — Brahms. 
Quartet  op.  131 — Beethoven. 
Quartet  for  Strings — Grieg. 
Quintet — Saint-Saens. 
Quartet  D  Minor — Schubert. 
Quintet        — Schumann. 


W.  S.  B   Mathews. 
E.  Liebling. 
C.  B.  Cady. 
J.  S.  Van  Cleve. 
C.  B.  Cady. 
C.  B.  Cady. 
W.  S.  B.  Mathews. 
W.  S.  B.  Mathews.  74 


CLASS  I.     SOXG 

Definition  of  Qualities  and  Character- 
ization. 

Erl  King— Schubert. 
Home,  Sweet  Home — Bishop. 
He  the  Noblest — Schumann. 
Lost  Chord — Sullivan. 
•  Adelaide — Beethoven. 
The  Palmtrees — Faure. 
Non  e  Ver — Mattei. 


W.  S.  B.  Mathews.  75 
W.  S.  B.  Mathews.  76 
W.  S.  B.  Mathews.  76 
W.  S.  B.  Mathews.  77 
W.  S.  B.  Mathews.  78 
J.  C.  Fillmore.  78 
W.  S.  B.  Mathews.  79 
W.  S.  B.  Mathews.  77 


XXII 


LIST   OF  SUBJECTS. 


MISCELLANEOUS. 


Kantasie 
Btnde. 

Nocturne. 

Madrigal  and  its  related  Part  Son^s. 

Mass. 

Requiem. 

Te  Deuin. 

Sontr  Without  Words. 

Principles  of  Pronunciation. 

Principles  of  the  Beautiful. 

The  Romantic  iu  Music. 

The  Classical  in  Music. 

Literary    Interpretation    in    Musical 

jEst  Ill-tics. 

Musi-  .1  1  History  and  Reasons  Why  it, 

si  .....  id  be  Studied. 
Typical  Musical  Forms. 


F.  G.  Gleason.  88 

W.  S.  B.  Mathews.  81 
W.  S.  B.  Mathews.  81 
.1.  S.  Van  Cleve.  S2 
A.  W.  Moore.  sr> 

W.  S.  B.  Mathews.  J)l 
W.  S.  B.  Mathews.  87 
W.  S.  B.  Mathews.  s:i 
.1.  C.  Fillmore.  83 

W.  M.  Dei-thick.  93 
W.  S.  B.  Mathews.  9l2 
W.  S.  B.  Mathews.  110 
W.  S.  B.  Mathews.  sf, 

J.  S.  Van  Cleve.       89 

A.  W.  Moore.  S4 

W.  S.  B.  Mathews.  SO 


STUDIES    IN    MUSICAL   HISTORY. 

QTJIESTIOICTS 


CLASS   A.— ANTIQUITIES   OF   MUSIC. 

DEFINITION  OF  MUSIC.    ITS  BEGINNINGS. 

1 .  What  is  the  meaning  of  the  word  Music  ? 

2.  Give  the  technical  definition  of  music. 

3.  What  are  the  first  elements  of  an  artistic  music? 

4.  Give  a  definition  of  Rhythm. 

5 .  What  is  Melody  ? 

6.  What  is  Harmony  ? 

7.  What  is  meant  by  "innate  expression?  " 

8.  What  is  tone-color  ? 

9.  What  relation  do  instruments  bear   to  the  tore- 
going  qualities  ? 

10.  In  what  way  are  the  earliest  and  the  latest  music 
related  ? 

1 1 .  What  have  been  the  actuating  forces  in  the  de- 
velopment of  music  ? 

12.  Which  of  these  came  first  into  operation? 

13.  What  early  instance  of  music  does  Max  Mueller 
mention  ? 

14 .  Whence  arises  the  feeling  of  reverence  with  which 
music  has  been  regarded  in  all  ages? 

15.  What  were  the  earliest  hymns  used  in  religious 
worship  ? 

16.  Why  are  not  qualitative  valuations  assigned  to 
this  old  music  ? 

17.  Describe  its  musical  qualities. 


12  STL/DIES  IN  MUSICAL  HISTOJtr. 


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STUDIES  7.V  .W.s/r.  I A  JII.STORT. 


13 


ANCIFAT    KCYl'TIAN    MUSIC. 

1.  What   was   the   estimation   of    music    among    the 
ancient  Egyptians  ? 

2.  How  has  the  general  character  of  music  in  ancient 
Egypt  been  ascertained  ? 


Fig.  3. 

Figure  3  Is  a  group  of  blind  musicians,  a  harper,  a  singer  and  a  player 
upon  the  banjo,  taken  from  an  Egyptian  tomb  of  the  middle  empire. 

3.     Where  are  the  oldest  tombs , and  what  is  their  char- 
acter and  extent  ? 


14 


s  /.v  MUSICAL  HISTORY. 


\.     (live  the  assigned  date  of  the  oldest  of  these  rep- 
n Dentations  ? 


Fio.4 


5. 
6. 


What  were  the  instruments  in  these  illustrations? 
How  many  strings  had  the  harps  of  that  epoch  ? 


Fio.  5, 

Figures  4  and  5  are  triangular  harps,  the  kinnor  of  the  Hebrews,  the  harp 
which  (icnosU  represents  .lubal  us  inventing,  the  same  which  David  played  be- 
fore Saul,  and  the  same  which  the  captive  children  of  Israel  hung  upon  the 
willows  of  Babylon. 

7.  In  what  important  structural  respect  were  they  un- 
like our  modern  instruments  ?  (See  Fig.  2.) 


.V7YYW.V  /.Y  MUSICAL 


lo 


8.  Describe     the    harps   illustrated    in  the   tomb  of 
RamesesIV.     (See  Fig.  10.) 

9 .  What  change  appears  in  harps  of  later  date  ? 


Kio.  «. 


10.  What  is  the  largest  number  of  strings  mentioned 
as  having  been  ascertained  from  the  monuments  ? 

1 1 .  What  other  instruments  had  the  Egyptians  ? 

12.  Are  we  to  regard  the  adoption  of  the  Kithara  in 
place  of  the  harp,  as  an  advance  in  musical  appreciation 
or  a  step  in  retrograde  ? 


16 


STUD/ES  IN  MUSICAL  HISTORY. 


lire  0  represents  Assyrian  harps.  ' 


whMir  '  -        -  7-  sort  of  metallic  instrument  on 

''„'  "  "JT es, "rsoumlii.tfr.Hls  w.-re  struck  by  a  little  metalU,:  mallet  or 
tr i. MI.    The  intention  of  the  artist  Is  not  very  clear.    Tliescdate  fro n  about 


Sl«ra  in  the  Berlin  Museum. 
FIG.  8. 


or  notlfyln 


and  In  the 
lie    Romish 


STUDIES  IN  MUSICAL  HISTORY. 


17 


!8  STUD/ES  I\  MUSICAL  HISTORY. 

13.     How  many  players  are  represented  as  belonging 
to  these  ancient  orchestras  ?     (See  Fig.  1 .) 


Figure  10  Is  a  lyre  found  In  one  of  the  tombs,  now  In  the  museum  at  Leyden 
TheAyro  was  a  favorite  instrument  in  the  time  of  the  later  empire.  This  pai  • 
ticu^r  instrument  Is  probably  not  many  centuries  older  than  the  Christian  era, 
but  the  style  shows  the  mode  of  construction  practiced  long  before. 

14.     What  instruments  were  used  together? 

ANCIENT    HINDOO  MUSIC. 

1 .  What  is  said  of  the  appreciation  of  music  in  India 
from  early  times  ? 

2.  What  especial  interest  for  us  has  the  musical  his- 
tory of  India  ? 

3.  What  is  said  of  the  musical   value  of  their  instru- 
ments of  the  bow  family?     (See  Fig.  12.) 

4.  How  is  it  supposed  that  the  idea  of  the  violin  came 
into  Europe  ? 

5.  What  is  the  characteristic  instrument  of  the  Hin- 
doo? 

6.  Describe  the  Vina?     (See  Fig.  11.) 

7 .  How  was  it  play ed  ? 

8.  How  many  modes  had  Hindoo  musical  theory  ? 


STUDIES  IN  MUSICAL  HISTORY. 


FIG.  11. 

The  Vina  is  vory  interestiiis  on  account  of  its  great  antiquity,  vvliicli  probably 
readies  back  to  more  than  1000  years  ]'..  C.  The  art  of  playing  it  lias  now  been 
lost.  The  figure  above  is  a  portrait  of  Jiwan  Chah,  who  lived  at  Calcutta,  near 
the  close  of  the  last  century,  anil  was  the  last  great  master  of  this  instrument. 
The  Vina  is  the  characteristic  Instrument  of  India,  with  which  its  higher  cult- 
ure of  music  is  associated.  It  consists  of  a  body  of  bamboo,  with  two  large- 
gourds  for  increasing  the  resonance.  It  has  an  elaborate  apparatus  of  frets, 
part  of  which  are  movable,  in  order  to  conform  to  the  different  scales  of  India. 
The  six  strings  were  of  silk. 


9 .  In  what  respect  was  the  Hindoo  drama  like  modern 
opera  ? 

10.  At  what  period  was  it  developed  ? 

11.  Into  how  many  intervals  did  the  Hindoo  divide 
the  musical  octaves  ? 

12.  Were  their  intervals  correct  ?   If  not,  why  not  ? 

13.  "What  is  said  of  their  discoveries  in  Harmony? 

14.  What  uses  did  they  make  of  music  ? 

15.  What  is  said  of  the  players  ? 


STUDIES  IN  MUSICAL  HISTORY, 


FIG.  12. 

The  Ravanastron  Is  a  rude  violin  much  used  in  all  parts  of  the  east — India, 
Ceylon,  Slam,  and  by  the  Huddhcist  monks  in  China.  It  consists  of  a  syramoro 
ln»x  with  a  parchment  tup;  through  this  a  stick  is  thrust,  and  two  strings  or  silk 
arc  laslened  atiovc  and  below.  It  is  lit- Id  for  playing  in  the  same  position  as  the 
modern  violoncello.  This  is  probably  the  very  oldest  type  of  all  Instruments 
played  with  a  bow. 


ANCIENT  GREEK  MUSIC. 

1.     What  was  the  earliest  music  among  the  Greeks  of 
which  we  have  any  account  ? 

'2.     Of  what  kind  were  the  songs  of  the  Rhapsodists  ? 

3 .  What  was  the  Phorminx  ? 

4 .  How  many  strings  had  it  ? 

5.  What  forms  of  music  came  later  r 


STUDIES  AV  MUSICAL  HISTOKT. 


21 


LYRE.  CITHARE. 

FIQ.  13. 

Figure  13  shows  the  two  principal  instruments  of  the  Greeks.  The  lyre, 
which  Ma<l  the  I'onii  »r  a  turtle  shell  with  two  horns,  ami  the  ctthara.  the  im- 
proved form  of  thr  lyre,  which  was  In  use  during  the  period  of  the  Pericles 
and  th>j  Imlliling  of  the  1'artheon. 


6.  What  was  the  beginning  of  Greek  musical  theory? 

7.  What  consonances  did  Pythagoras  recognize  ? 

8.  What   important   modern   consonance   is  lacking 
from  this  list  ?     (The  third.) 

9 .  Did  you  ever  hear  any  music  without  thirds  and 
sixths  ? 

10.  Who  was  the  first  real  observer  of  musical  pheno- 
mena in  a  musical  way  ? 

1 1 .  Who  was  Aristoxenos  ? 

1 2 .  What  great  principle  did  he  enunciate  ? 

13.  Who  was  the  last  of  the  Greek  musical  theorists? 

14.  What  instruments  did  the  Greeks    use  in  their 
public  performances  ? 

15 .  What  was  the  Aulos  ? 
8 


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STL'D/ES  /.V  MCS/CA7.  HISTORY. 


EARLY  CHRISTIAN    MUSIC. 

1  .  What  was  the  course  and  condition  of  music  after 
the  period  described  in  the  study  upon  ancient  (i reek 
music? 

To  what  was  this  decline  in  musical  art  due? 
What  influence  had  Christianity  upon  music-? 
4.     Whence  did  the  early  Christians  derive  the  music 
of  their  songs? 

•">.  What  difference  is  here  observed  between  ancient 
and  modern  musical  tonality? 

6 .  What  cause  contributed  in  this  epoch  to  the  modern 
tendency  toward  the  major  tonality ? 

7.  What  agency  was  most  active   in   elevating  and 
developing  the  art  of  music  for  many  centuries  follow- 
ing  this  period? 

1.     What  circumstance  prevented  the  free  cultivation 
of  music  during  the  first  four  centuries  of  the  Christian  era? 
•1.     When  was  Christianity  formally  recognized  by  the 
Roman  state? 

How    did    the  adoption    of   Christianity    by    the 
Roman  authorities  affect  the  art  of  music? 

4.  When  did  St.  Ambrose  begin  to  introduce  his 
reforms? 

What  great  hymn  did  he  coin; 

6.  How  many  modes  iopt.  and  from 
what  were  they  derived? 

7.  How  lung  did  th.-     -        a   remain  the  source  of 
Christian  music? 

8.  What  characteristic  did  music    acquire    through 
the  efforts  of  St.  Amb: 

Mention  his  principal  contributions  to  liturgica. 
music. 


24  STUDIES  IN  MUSICAL  HISTORT. 

ST.  GREGORY. 

1.  What  was  the  course  of  music  after  the  death  of 
St.  Ambrose? 

2.  What  new  reformer  arose  to  correct  these  abuses? 
;?.     What  special  service  to  Christianity  is  accredited 

to  St .  (In-gory? 

4.  What  was  the  nature  of  St.  Gregory's  reform  in 
music? 

a.  I  low  many  scales  were  added  by  St.  Gregory,  and 
what  were  they  called? 

(5.  What  notes  of  our  scales  correspond  to  the  Am- 
brosian? 

7 .  Give  the  names  of  the  Ambrosian  modes  and  the 
notes  from  which  they  are  reckoned.  (See  Fig.  00.) 

H.  Give  the  names  of  the  Gregorian  modes  and  the 
notes  from  which  they  are  reckoned.  (See  Fig.  00.) 

9.  In  what  important  respect  do  these  differ  from 
our  modern  scales? 

10.  What  church  tunes  have  we  derived  from  the 
Gregorian  melodies? 


HUCBALD. 

1.  Who  was  Hucbald? 

2.  In  what  respect  was  lie  in  advance  of  other  writers 
upon  music? 

3 .  Describe  the  two  forms   of  musical   notation   em- 
ployed by  Hucbald. 

4.  What  did  the  letters  "S"  and  '1II  S"  signify? 

5.  For  what  other  service  is  he  distinguished  in  the 
history  of  music? 

6.  Define  Diaphony. 


STUDIES  IN  ML'SICAL  HISTORY.  25 

7.  What  interval  commonly  used  in  modern  harmony 
is  omitted  in  this  combination? 

8.  What  effect  does  this  produce  upon  modern  ears, 
and  in  what  manner  is  it  rendered  most  noticable? 

9.  Why  does  a  succession  of  these  chords  produce  a 
disagreeable  effect,  while  "each  separate  chord  sounds 
well  enough  by  itself?" 

10.  How  may  we  illustrate  the  peculiar  character  of 
this  harmony? 

11.  What  was  meant  by  Orgoinim.' 

12.  What  does  it  resemble? 

13.  In  what  respect  does  Orgnnum  differ  from  Dia- 
phonyf 


M'l'DIES  IN  MUSICAL  HISTORY. 


CLASS  B.     MEDIAEVAL  MUSIC. 

GUIDO. 

1 .  Who  was  Guido? 

2.  Wliat  was  Guide's  position  at  Rome  and  under 
whose  patronage  was  he  while  thus  engaged? 

•\ .     Wherein  consists  his  importance  in  musical  history? 

4.  What  is  meant  by  sohnisation? 

5.  Of  what  had   musical  notation  consisted   for   two 
centuries  or  there  about  before  Guide's  lime? 

6.  From  whence  are  ••  uptimes"  supposed  to  have  been 
derived? 

7.  Describe  the  general  form  of  these  characters. 

8.  How  were  "neumes"  afterward  emplo}red? 

9.  Of  how  many  lines  did    the   staff   employed    by 
Guido  consist? 

10.  Of  the  four  lines  of  the  staff  employed  by  Guido, 
which  was  green,  which  red.  and  for  what  purpose  were 
they  thus  distinguished? 

1 1 .  What  other  characters  than  •" neumes"  did  Guido 
sometimes  use  upon  the  degrees  of  his  staff? 

I  •> .     What  is  here  observed  of  the  note-head? 

I'!.  How  did  Guido  regard  the  succession  of  fifths  as 
'alight  by  Ilucbald? 

11.  What  harmonic  interval  was  Guido  the  first  to 
recognize  as  a  permissible  consonance? 

MKDI.KVAI.    SKCl'I.AK   MUSIC. 

1 .      What  are  folk-songs? 

From  what  source  does  this  class  of  music  spring? 
3 .     What  were  probably  the  earliest  songs  of  this  char, 
acter? 


tl 


Do\ 


m,n,\ 


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tt  sit\       oria/  in\  cula hitur  Dominus  in  o  /   ,  n\     / 

St.        gl"/          Do\ g«e/         \     ta/  ' b^$~ 

t  J /       rr.mi\ Ue  / pe  \~ 


sil\       or 


i"\ Cula -biiur  Pommus  mo/       ri  \     / 


SJ        glo/ 
tJ 


sae  /          \     ta  / 


Do  \ 


/       mm.  \ 


pe\         su\ 


t  I    iit\       oris/ in\  cula biiur  Dominui  mo/       n  \     / 

SP        glo/          DoA sae/          \     t.i  /  bu7 


mini  \ Ue  / 


su\ 


t  "i  sit  \       ori 
Sy        glo/~ 


in  \          cula bitur  Dtiminus  in  o  /      ri  \     /     13 

sae/          \     u  /  b^ 


lae/ 


No.  132.—  Polyphonic  Notation  of  Hucbald. 


^ 


Sit        glo 


ri     -     a          Do    -    mi    -    ni        in       sao    •   ca    -    la       lae- 


ta     •     bi    •   tur      Do    •    mi   •  nus        in         o    -     pe    -    ri    •   bus       su     -    is. 


1 1- 


Deciphrring  o^  abov 
Kis-  Ot)0. 


Tlie  above  exaili;>lt  illustrates  tlie  staff  proposed  1>>  Hucbald.  and  th«   mauiRT 
In  wliidi  he  \vrnte  hli-  fainoiH  <>n;anitiii.     The  syllahles  are  placed  in  tlie  M 
according  to  Uia  pitch  lnten<le<1     Tlie  initials  T  and  8  at  the  beginning  show- 
where  the  "tones"  and  •  semitones"  occur. 


STUDIES  IN  MUSICAL  1USTO1U  27 

4.  What  conditions  promote  activity  in  this  depart- 
ment of  music? 

5 .  Mention  some  of  the  best  known  songs  of  this  class. 

6.  What  is  the  difference  between  the  music  of  the 
mediaeval  epics  and  the  modern  popular  ballad? 

7.  Where  did  the  most  beautiful  melodies  of  this  class 
have  their  origin? 

8.  What  class  of  melodies  best  illustrate  the  excellent 
points  in  the  folk  music  of  the  British  Isles? 

9 .  In  what  respect  do  the  folk-songs  of  England  and 
Germany  differ  from  each  other? 

10.  Why  is  this  class  of  music  peculiarly  perishable? 

11.  What  influence  has  the  folk-song  exercised  upon 
musical  composition? 

12.  Mention  an  instance  where  the  works  of  a  great 
master  acquire  a  peculiar  charm  from  these  melodies. 


FRANCO. 

1 .  In  what  respect  is  Franco  of  Cologne  celebrated  in 
the  history  of  music? 

2.  What  is  meant  by  mensural  music? 

3.  About  what  time  were  note  heads  introduced  by 
Franco  of  Cologne? 

4.  What  was  the  name  given  to  the  note  selected  as 
unit? 

5.  What  was  its  form? 

6 .  How  was  double  the  length  of  this  unit  note  indi- 
cated? 

7.  In  what  respect  did  his  application  of  the  stem 
differ  from  that  of  the  present  time? 

8.  What  was  the  longest  note  employed  by  Franco  of 
Cologne  called? 


28  STUDIES  IN  ML'SICM.  HISTORY. 


How  was  its  length  indicated? 

10.  How  was  the  half  note  indicated: 

11.  Wltat  modifications  in  these  note  forms  did  the 
N'etheiland  masters  introduce  soon  after  Franco? 

\'l.      For  what  were  liars  first  u-ed? 
l.'i.     What   did   Franco  of  Paris  contribute  to  music? 
1  1.      (Jive  his  classification  of  the  consonances. 
1.").     (Jive  his  classification  of  the  di-^onances. 
16.     What  new  theory  did  Franco  of  Paris  introduce 
tlie  use  of  dissonances? 


DUFAY. 

1.  How   many  period-  are  there  in  the  history  of  the 
Netherland  school? 

2.  What  masters  are  named  as  prominent  representa- 
tive's of  these  four  periods? 

3.  '  What  was  the  condition  of  music  in  the  first  epoch 
and  what  were  its  characteristic 

1.      Who  founded  the  Netherland  school? 
5.     What  is  stated  of  Dufay's  life  and  character? 
>'•.      In  what  works  are  w.-  furnished  with  a  knowledge 
of  Dnfay's  mii-ic: 

7.  What  note  character  was    Dufay    the   first    to  em- 
ploy? 

8.  What  is  the  character  of  Dufay's  compositions? 

9.  Of  scientific  skill  and  emotional  expression   which 
was  held  in  hkrhest  e-timation  at  this  time? 

10.  For  what  number  of  voices  were  his  works  gen- 
erally written? 

11.  Did  the  fugal  style  exist  at  this  period? 


STUDIES  AV  MUSICAL  HISTORY.  29 


OKEGHEM. 

1 .  Name  the  principal  master  of  the  second  epoch  of 
the  Xetherland  school. 

2.  With  whom  did  he  study  music? 

3.  When  was  he  a  member  of  the  choir  at  Antwerp? 

4.  When  did  he  join  the  royal  choir  at  the  court  of 
France? 

5.  How  long  did  he  remain  in  the  service  of  the  court 
of  France? 

6.  Name  his  most  talented  pupil  and  greatest  succes- 
sor. 

7.  What  is  the  style,  of  his  works  and  in  what  way 
do  they  differ  from  those  of  his  teacher,  Dufay? 

3.     For  what  number  of  voices  were  most  of  Okeg- 
hem's  works  written? 

9.  What  exception  is  here  instanced? 

10.  What  was  Josquin  des  Pres'  rank  as  a  musician? 

11 .  What  important  apoointment  did  he  receive  from 
Pope  Sextus  IV? 

12.  How  was  Josquin  regarded  by  his  contemporaries? 

13.  In  what  important  respect  does  Josquin 's  style 
differ  from  that  of  his  predecessors? 

14.  What  was  the  rank  of  Adrian  Willaert? 

15.  Of  what  great  school  was  he  the  founder? 

16 .  What  important  position  did  he  occupy  in  Venice? 

1 7 .  What  great  musical  theorist  was  among  his  pupils? 

18.  With  whom  did  Nicholas  Gombert  study  the  art 
of  music? 

19.  What   reason  is  here  assigned  for  tin-  meager  re- 
cords of  the  career  of  Gombert? 

20.  Of  what  do  his  existing  works  mainly  consist. 

21.  To  what  position  did  he  finall}-  succeed? 


30  STUDIES  IN  MUSICAL  HISTORY. 

MARTIN  LUTIIEU. 

1.  I  Mine  the  principle  of  individualism? 

2.  In  truatdepartment  of  music  was  Luther  most  active? 

Mention  his  most  celebrated  production. 

1 .      What  is  a  chorale? 

A.  To  what  kind  of  hymns  were  the  chorales  of  Lu- 
ther set? 

(5.  What  is  the  advantage  of  retaining  a  good  melody 
for  the  service  of  a  particular  hymn  instead  of  using  it 
interchangably  with  any  hymn  of  the  same  meter  as  is 
done  in  this  country? 

7.  IIovv  have  these  chorales  of  Luther  been  treated  by 
later  composers? 

8.  What  wa>  Luther's  estimation  of  music? 

'.'.     Mention  one  of  Luther's  most  celebrated  hymns. 

10.  Is  the  chorale  confined  to  the  service  of  the  Pro- 
testant church? 

1 1 .  What  is  the  present  condition  of  the    German 
chorale? 


<>K1,ANI>0   LASSUS. 

1 .  At  what  age  did  Lassus  give  proof  of  his  superior 
musical  abilities? 

2.  When  did  he   first  visit  Rome  and  what  appoint- 
ment did  he  secure? 

3.  Where  did  his  career  as  a  composer  begin? 

4.  What  objectionable  tendency  of  style  peculiar  to 
the  earlier  masters  of  the  Netherland  school  did  Lassus 
completely  overcome? 

'».     What  is  the  rank  and  character  of  his  works? 

6.  Where  and  in  whose  service  did  he  engage  after 
leaving  Antwerp? 

7 .  In  what  esteem  was  Lassus  held  by  bis  royal  patron  ? 


STUDIES  IN  MUSICAL  HISTORY.  31 

8.  What  is  the  total  number  of  Lassus'  works  still  in 
existence? 

9 .  What  is  said  of  the  versatility  of  his  genius  in  com- 
position? 

10.  Mention  his  greatest  work. 

1 1 .  What  position  does  he  occupy  in  relation  to  the 
Netherland  masters? 

12.  What  two  principles  was  he  the  first  to  recognize 
and  employ? 


PALESTUINA. 

I .  At  what  date  is  Palestrina  known   to  have  been 
studying  music  at  Rome? 

2      To  what  position  was  he  appointed  in  1551? 

3 .  In  what  respect  did  Palastrina's  fortune  differ  from 
that  of  Lassus'? 

4.  With  whom  did  he  study? 

5.  Of  what  important  school  was  he  the  first  and 
greatest  composer? 

6.  What  was  his  first  work  and  when  was  it  composed? 

7 .  To  whom  was  it  dedicated  and  with  what  result? 

8.  For  what  eminent  service  is  Neri  distinguished  in 
the  history  of  musical  art? 

9 .  How  did  Palestrina  rank  as  a  composer  of  church 
music? 

10.  For  what  qualities  are  his  works  remarkable? 

II.  Mention  his  most  important  work. 

12.  What  was  the  condition  of  church  music  at  the 
time  the  Mass  of  Pope  Marcellus  was  written  and  what 
did  it  demonstrate? 

13.  How  does  this  work  rank  with  other  musical  pro- 
ductions of  the  sixteenth  century? 


32  STUDIES  /.V  MTSICAL  HISTORY. 


1  I.     \Vhat  other  important  works  did  Palestrina  pro- 
duce? 

15.  To  what  class  of  music  did  Palestrina  almost  ex- 
clusively devote  himself? 

16.  In  what  respects  does  he  excell  all  other  ecclesias- 
tical composers? 


STUDIES  7.Y  MUSICAL  HISTORY. 
CLASS    C.      OPKRA. 

<  HAKA(TKKl/.vnoX    OF   OPERA. 

1.  What  is  the  legitimate  object  of  the  opera? 

2.  In  what  respect  does  the  opera  differ  from  the  or- 
dinary drama? 

.">.      What  purpose  is  served  by  the  Recitative? 

4.  What  is  expressed  in  the  Arias? 

5.  What  is  expressed  in  the  Ensembtes and  Choruses? 

6.  Name  the  three  principal  elements  of  the  opera: 

7.  Were  the  lirst  operas  intrinsically  valuable  or  were 
they  merely  experimental? 

8.  Which  of  the  three  elements,  recitative,  aria   or 
chorus,  was  most   prominent  in  Peri's  Kurydice? 

!).     What  three  great  national  schools  of  opera   are 
here  mentioned? 

10.  What  is  the  most    prominent  difference   between 
( ierman  and  Italian  opera? 

11.  Describe  the  general  character  of   French  opera. 

12.  Describe  the  writer's  ideal  of  opera. 

l.'J.      What  great  composer  endeavored  to  embody  all 
these  qualities  in  his  works? 


HKFIXITIOX    OF   (.H'AUTIKS   oF   OI'KKA. 

1.     Of  what   two  qualities   does   a   libretto  (or  opera 

text)  primarily  consist? 

'2.      What  is  meant  by  "musical  fitness?" 

:i.      What  is  meant  by  "dramatic  opportunity?" 

4.     What  four  qualities  form  the  basis  of  criticism   in 

the  vocal  music  of  the  opera? 


34  STUDIES  IN  MUSICAL  HISTORY. 

5.  What  is  the  importance  of  "  spontaneity  "  as  an 
element  of  music? 

6.  What  impression  does  spontaneity  create  in  the 
mind  of  the  listener? 

7.  What  is  meant  by  "elaboration?" 

8.  What  is  meant  by  ''dramatic  fitness?" 

9.  What  is  meant  by  "adaptation  to  voice?" 

10.  Of  what  two  elements  does  the  orchestration  pri- 
marily consist? 

11.  What  is  meant  by  "beauty  of  tone  color?" 

12.  What  is  meant  by  "dramatic  strength?" 

13.  What  is  meant  by  "scenic  demands?" 


EURYDICE,  BY  PERI. 

1.  What  is  said  of  Peri's  parentage? 

2.  For  what  is  Peri  distinguished  in  the  history  of 
music? 

3.  Under  whose  patronage  was  the  first  opera  pro- 
duced and  upon  what  was  it  founded? 

4.  Of  what  style  of  music  did  the  origin  of  the  opera 
mark  the  beginning? 

5.  Upon  what  occasion  was  Eurydice  produced? 

6.  Who  wrote  the  libretto  for  this  opera? 

7.  What  other  name  is  associated  with  Peri's  in  the 
composition  of  the  music  of  Eurydice? 

8      In  what  manner  was  the  music  chiefly  rendered. 
9.     What  accessories  were  introduced  in  these  early 
operas? 


STUDIES  /\  MfS/CM.   I  IIS  mm'.  :;', 


TANTKEDI   IJV    MONT 

1.  What  chords  was.  Montevorde  the  first  to  introduce 
in  his  music? 

2.  What  school  of  music  was  Montevcrde  the  first  to 
supersede? 

3.  What  was  the  effect  upon  music  of  Monteverde's 
opera  ''Orfeo?" 

4.  How    many    instruments  were  introduced  in  the 
orchestral  score  to  "Orfeo,"  and  of  what  was  this  the 
beginning? 

5.  What    was    the    importance    of    the    orchestra   in 
"Taneredi?" 

6.  What  important  orchestral  effects  were  introduced 
for  the  first  time   in  this  work? 

7  .      What  is  Monteverde's  rank  in  the  history  of  opera? 

AKMi;>K   15V    l.ULLI. 

1.  Of  what  important  school  of  opera  w.-is    Lulli   the 
founder? 

2.  Mention    some  of  Lnlli's  characteristics  MS  a  musi- 
cal coin  ><>ser. 

3.  From  what  was  the  French  opera  evolved? 

4.  What  form  of  overture  did  Lulli  invent? 

.">.  To  what  kind  of  effects  is  the  music  of  Lulli's 
operas  especially  adapted? 

(!.  Of  what  fact  relating  to  Italian  o|>ora  does  Armide 
afford  a  striking  illustration? 

7.  To  what  subjects   was   the   old   school   of    French 
opera  characteristically  devoted? 


IIV    SCAKi.ATTI. 

1  .  What  was  Scarlatti's  rank  as  a  composer? 

2.  In  what  department  of  music  did  he   most   excell? 

3.  How  many  operas  did  Scarlatti  compose? 
4 


36 


STUDIES  IN  MUSICAL  HISTORY. 


4.  What  exceptional  qualifications  did  he  possess? 

5 .  What  was  the  result  of  the  recent  production  of 
sonic  of  his  works  in  Italy? 

().  In  what  particulars  did  Scarlatti  surpass  his  prede- 
cessors? 

7.  What  important  device,  now  in  common  use,  was 
Scarlatti  the  first  to  introduce? 


ORPHEUS  BY   GLUCK. 

1 .  In  what  respect  does  Orpheus  differ  from  all  ear- 
lier operas? 

2.  What  actuating  idea  relative  to   the    opera   did 
Gluck  conceive  and  from  what  observation  was  it  de- 
rived? 

3.  What  did  Gluck 's  ideal  contemplate  and  how  did 
he  regard  the  prevailing  style? 

4.  To  what  rank  did  Orpheus  assign  its  composer? 

5.  What  prevailing  evil  did  Gluck  successfully  op- 
pose? 

6.  What  other  great  composer  has  performed  similar 
service  for  the  elevation  of  the  opera? 

7 .  What  great  composers  of  instrumental  music  are 
here  accredited  with  having  contributed  to  the  develop- 
ment of  the  opera? 

8 .  What  prominent  excellences  does  Orpheus  possess? 

9.  In  what  scene  is  Gluck 's   ability  as  a  dramatic 
writer  most  forcibly  demonstrated? 

10.  What  two  qualities  of  the  music  are  rated  highest 
in  the  scale  of  valuation? 


STUDIES  IN  MUSICAL  HISTORY.  37 

DON  GIOVANNI  BY  MOZART. 

1 .  By  whom  WHS  the  libretto  of  Don  Giovanni  writ- 
ten, and  from  what  adapted? 

2.  What  is  said  of  the  subject  upon  which  Don  Gio- 
vanni is  founded? 

3.  With  what  result  was  the  work  iirst  presented? 

4.  How  was  this  opera  regarded  for  some  time  after 
its  production? 

5.  What  excellence-;   secured   for   the  work    such  a 
high  degree  of  favor? 

6.  What  is  said  of  the  music  of  this  opera  as  com- 
pared with  its  dramatic  features? 

7.  How  did  this  work  compare   in   dramatic   quality 
with  Ovher  works  of  that  period? 

8.  What  two  qualities  of  the  music  are  rated  highest 
in  the  scale  of  valuation? 


FIDELIO  BY  BEETHOVEN. 

1 .  What  number  of  operas  did  Beethoven  com: 

2.  Upoa  what  was  Fidelio  founded? 

3.  Give  an  outline  of  the  incidents  of  the  plot. 

4.  Of  the  musical  and  dramatic  quality  of  the  work, 
which  is  most  excellent? 

5.  What  probable  cause  is  assigned  for  the  inferiority 
of   this   work    in    comparison  with  Beethoven's  purely 
musical  compositions? 

6.  To  what  considerations  in  the  composition  of  this 
work  did  Beethoven  evidently  give  most  attention? 

7 .  What  two  qualities  marked  highest  in  the  scale  of 
valuation  afford  evidence  of  this? 


STUDIES  /.V  MUSICAL  HISTORY. 


PER  FKEISCHl'ET/:  BY  WEBER. 

1.  What  great  distinction  has  been  awarded  Weber's 
Per  Freischuetz: 

2.  "What   later   composer  successfully  contested  the 
claims  of  Der  Freisehuetz  to  be  regarded  as  the  greatest 
representative  German  opera? 

3.  Give  an  outline  of  the  incidents  of  the  plot? 

1 .      What  is  the  character  of  the  overture  to  this  work: 
.">.     What  phase  of  character   peculiarly  adapted  for 

dramatic  treatment  in  opera  was  first  introduced  in  this 

work? 

6.  In  what  other  opera  of  the  series  here  presented  is 
the  Mephistopheles  character  prominently  exhibited? 

7.  What  quality  in  this  work,  aside   from   the  text, 
has  secured  the  highest  rating  in  the  scale  of  valuation? 


WILLIAM  TELL  BY  ROSSINI. 

1 .  Where  was  Rossini  born  and  where  educated? 

2.  Mention  some  of  his  greatest  works. 

3.  What  mark   of   popular  favor  did  the  Parisians 
bestow  upon  Rossini  on  the  occasion  of  the  500th  per- 
formance of  AVilliam  Tell,  and  when  did  this  event  occur? 

4.  To   what  did   Rossini    devote   himself  after  this 
period? 

5.  Where  is  the  action  in  this  opera  laid? 

6.  What  are  the  most  notable  beauties  of  this  opera? 

7 .  What  qualit}'  of  the  music  in  the  scale  of  valuation 
is  rated  highest? 

8 .  What  quality  of  the  orchestration  is  marked  lowest? 

9.  What  distinction ,  when  contrasted  with  Weber '_< 
Der  Freisehuetz,  does  this  suggest  between   French  and 
German  opera? 


STUDIES  IN  MUSICAL  HISTORT.  39 


LUCIA  DI  LAMMERMOOR  i;V  DOHIZETTI. 

1.  How  many  operas  did  Donizetti  produce? 

2.  What  characteristic  in  the  effort  of  composition  is 
Donizetti  said  to  have  possessed? 

3.  How  does  this  opera  rank  among  other  works  of 
its  author,  and  what  position   does   it   sustain   upon  the 
operatic  stage? 

4.  What  feature  of  the  work  is  said  to  be  unsurpassed, 
and  in  what  does  its  beauty  consist? 

").     From  what  was  the  libretto  of  this  work  adapted? 

6 .  What  scene  is  especially  referred  to  as  being  highly 
dramatic? 

7.  What  other  features  of  excellence  are  mentioned 
in  the  text? 

8.  What  two  qualities  are  rated  highest  in  the  scale 
of  valuation? 

9 .  In  what  three  particulars ,  according  to  the  quali- 
tative analysis,  is  the  work  most  deficient? 


THE  HUGUENOTS  BY  MEYEKBEEE. 

1 .  Upon  what  historical  event  is  the  plot  of  this  opera 
founded? 

2.  What  celebrated  song  occurs  in  the  first  act? 

3.  AVhere  is  the  scene  of  the  second  act  laid,  and 
what  are  its  prominent  features? 

4.  What  is  the  character  of  the  third  act? 

5.  Where  does  the  fourth  act  take  place? 

6.  What  celebrated  piece  of  music  is  rendered  in  the 
fourth  act,  and  what  is  its  character? 

7 .  What  tragic  episode  occurs  in  the  fourth  act? 

8.  To  what  is  the  fifth  act  devoted? 


10  STUDIES  IN  MUSICAL  HISTORY. 

9.  What  is  said  of  the  score  of  this  work? 

10.  What  quality  of  the  libretto  is  rated  highest  in 
the  scale  of  valuation. 

1 1 .  What  quality  of  the  orchestration  is  rated  low- 
est. 

12.  What  characteristic  of  the  composer  does  this  in- 
dicate. 

F.UST  1!Y  (iOUNOD. 

1 .  How  many  acts  has  this  opera? 

'2.  With  what  is  the  first  act  concerned? 

3.  With  what  does  the  second  act  open? 

I.  What  famous  song  is  rendered  in  the  second  act? 
T>.  What  is  the  closing  feature  of  the  second  act? 

T>.     What  celebrated  scene  occurs  in  the  third  act? 

7 .  What  two  great  songs  are  rendered  in  the  third  act 
and  by  what  characters? 

8.  What  is  said  of  the  "love  music"  rendered  in  the 
final  scene  of  the  third  act? 

9.  What  great  scene  occurs  in  the  fourth  act? 

10.  What   two   prominent    features   of  this  act  are 
mentioned  in  the  text? 

II .  Where  is  the  final  act  laid? 

1  '2 .     What  pathetic  scene  occurs  in   the   last  act  and 
what  is  the  character  of  the  music? 

13.  What  two  features  have  contributed  most  to  the 
success  of  this  work? 

14.  What  qualities  are  rated   highest  in  the  scale  of 
valuation? 

i.~>.     What  quality  is  rated  lowest. 

A1DA    ]!Y    VKKDI. 

1 .     What  four  famous  operas  had  Verdi  written  be- 
fore he  was  commissioned  to  compose  Aida? 


STUDIES  IN  MUSICAL  HISTORY.  \  \ 

2.  From  whom  was  the  commission  for  this  work  re- 
ceived? 

3 .  What  is  said  of  the  magnitude  and  expense   of  its 
production? 

4.  In  what  respect  is  this  opera  especially  unique? 

5.  What  peculiarity  of  the  music  is  mentioned? 

6.  In  what  way  has  Verdi  departed  from  his  former 
course  in  the  composition  of  this  work? 

7 .  In  what  respect  does  this  opera  correspond  to  the 
German  ideal? 

8.  What  more  recent  work  of  Verdi  is  said  to  excel 
Aida? 

9 .  What  valuation  has  been  assigned  to  the  qualities 
of  the  Text? 

10.  What  element  of  the  music  is  rated  lowest  in  the 
scale  of  valuation? 

1 1 .  What   qualities   of   the   opera   have  secured  the 
highest  valuation? 

TRISTAN  AND  ISOLDE  BY   WAGNER. 

1.  In  what  respect  is  Tristan  and  Isolde  the  author's 
most  remarkable  work? 

2.  What  did  Wagner  seek  to  realize  in  the  composi- 
tion of  this  opera? 

3.  How  did  this  work  compare  with  existing  models? 

4.  Characterize  the  emotional    quality  of  this  work 
in  the  language  of  the  text. 

5 .  What  is  said  of  its  musical  structure? 

6.  What  is  asserted  in  the  opening  phrase  of  tin-  pre- 
lude? 

7 .  How  is  the  opera  regarded  as  a  whole? 

8.  How  does  it  rank  among  the  operas  presented  in 
this  series? 


42  STUDIES  AV  MUSICAL  J/ISTOItl'. 


CLASS    D.     ORATORIO. 

N  <>K  orAUTlKS  AND   CHAilA<TKRIZATIOX  OF 
ORATORIO. 

1 .      Wliat  is  an  Oratorio? 

~2 .      In  what  respect  *loes  the  Oratorio  differ  from  the 
Op  ra? 

:>.      From  what  is  tlie  word  "Oratorio"  derived? 

1.      To  what  purpose;  were  the  earliest  oratorios  pre- 

ted? 

.") .      Who  was  Kmilio  C'avaliere? 
<!.      What  was  the  trie  of  his  work: 

7.  In  what  do:-s  its  value  consist? 

8.  What  was  the  intrinsic  character  of  the  work? 

(J.     From  what,  any  its  dependence  upon  the  antique 
ideal  be  inferred? 

10.  What   was   the  character   of  the   oratorios   which 
followed  this? 

1 1 .  With  what  motive  were  they  produced? 

12.  What     prominent     .-haracters   in   the   history   of 
music  were  identified  with  the  second  stage  of  the  devel- 
opment of  the  oratorio? 

13.  What  were   Bach's  contributions  to  this  form  of 
musical  art? 

1  1 .     What  subject  was  usually  selected  for  presents-- 
lion  by  the  German  masters? 

15.  In  what    respect    does  Handel's  Messiah  show  a 
divergence  from  the  works  of  other  German  masters  of 
that  period? 

16.  Toward  what  ideal  did  this  divergence  tend? 

17.  What  is  said  of  the  character  of  Haydn's  Crea- 
tion as  contrasted  with  those  earlier  works? 


STUDIES  IN  MUSICAL  HISTORY.  43 

18.  What  oratorios  presented  in  these  studies  mark  a 
still  further  divergence  toward  the  pleasing  element? 

19.  What    are   the  primary  qualities  of  the  text  of  an 
oratorio? 

20.  Of  what  other  qualities  does   the  oratorio  prima- 
rily consist? 

REPRESENTATION  OF  THE  SOUL  AND  THE  HODY  I'.Y  CAVALIERE. 

1.  In  what  respect  is  this  work  of  great  historical 
importance? 

'2.  What  other  form  of  musical  art  had  its  origin  in 
the  same  year  as  Oratorio? 

.').  What  is  observed  of  the  points  of  resemblance 
and  difference  between  the  tirst  oratorio  and  the  first 
opera? 

-1.      In  what  respects  were  they  similar? 

p.  What  accessory  was  employed  in  this  primitive 
oratorio  not  admitted  in  later  works  of  this  form? 

(i .      To  what  subject  was  the  opera  oriu  nail y  devoted.1' 

7.  I'pon  what  was  the  oratorio  founded. 

8.  What  were  the  characters  of  the  ••moralities"  and 
early  oratorios  and  what  did  they  represeir? 

9.  How  were  these  characters  mr.de  to  progress? 

10.  What  was  the  play  intended  to  convey? 

1  1 .     Where  were  the  first,  performances  of  the  oratorio 
given? 

12.  By  whom  were  these  early  prese  •.!:.' ions   of  ora- 
'arios  given,  at  what  season  and  with  what  motive? 

13.  What    two  qualities   enumerated    in    the   scale  of 
valuation  were  entirely  absent  in  this  work? 

11.  What  valuations  are  given  to  ••  beauty"  and  "in- 
strumentation" in  the  scale  of  qualities? 

15.     What   was   the   general   impression  of  this  work 
upon  the  listener? 


,s/Y/V/-;.S   /.Y  MCS/CAL   HISTORY. 


4.     What   numbers   of   the   work  best  represent  its 

rharacleristie  beauties  of  melody  and  harmony? 

.").  Characterize  the  impression  conveyed  by  this 
work  in  contrast  with  more  modern  productions,  using 
the  language  of  the  text . 

6.  How  does  the  Creation  rank  in  evidences  of  tech- 
n ic.-!  knowledge  and  skill? 

7.  What  realistic  effects  are  attempted  in  the  work 
and  how  may  they  be  regarded  in  comparison  with  mod- 
ern musical  portrature? 

8.  What  quality  is  rated  highest  in  the  scale  of  val- 
uation? 

9.  What  quality  is  rated  lowest? 

10.     What  is  the  general  impression  of  the  work  upon 
the  listener? 


ELIJAH  BY   MENDELSSOHN. 

1 .  Under  whose  direction  was  Elijah  first  produced? 

2.  What  biblical  scenes  are  treated  in  this  work? 

3.  Give  Mendelssohn's   conception   of   the    prophet 
Elijah  in  his  own  language  as  presented  in  the  text. 

4.  Mention  three  of  the  most  beautiful  solos  con- 
tained in  the  work. 

5.  What  is  the  title  of  the  "angel  trio?" 

6.  Mention  the  most  important  choruses. 

7.  What  scene  is  referred  to  as  being  especially  dra- 
matic? 

8.  Describe  the  scene  containing  "Holy,  holy  is  God 
the  Lord." 

What  is  the  general  impression  produced  by  this 
work  upon  the  listener? 


STUDfES  J.\'  .\/rs/CAL  HISTORY.  4? 

CHRIST  OX  T:iii  MOUNT  OF  OGIVES  BY   BEETHOVEN. 

1.  IL»w  many  oratorios  did  Beethoven  write? 

2.  To  \vh:\'  period  of  Beethoven's  artistic  life  does 

this  work  belong? 

'.\.      What,  is  the  musical  quality  of  the  work? 

1.      What  was  the  character  of  the  libretto? 

.">.  How  many  voices  does  the  libretto  introduce  and 
to  what  characters  do  they  belong? 

6.  By  what  character  is  the  first  recitative  and  Aria 
rendered  and  what  is  its  title  and  character? 

7.  What  trio  follows  the  due*  between  Jesus  and  the 
Seraph  and  what  is  its  character? 

*.  \Viiat  number  is  regarded  n*  the  one  grand  feature 
of  the  entire  work? 

9.  How  does  this  chorus  compare  with  other  exist- 
ing works  of  its  class? 

10.  What  other  feature  of  the   work  is  characterized 
as  "beautiful  and  impressive." 

11.  What   attempts   have  been    made   to   render  th^ 
work  less  objectionable. 

12.  Which   of   these   attempts   i-   mentioned   and   in 
what  did  it  result? 

13.  What  quality  is  rated  lowest  in  the  scale  of  valu- 
ation? 

14.  What  is  the  general  impression  of  the  music  upon 
the  listener? 


THE   LAST  JUDGMENT   BY  SPOHR. 

1  How  many  oratorios  did  Spohr  write  \ipon  this 
theme? 

2.  When  was  the  first  of  these  produced  and  with 
what  result? 


48  STUDIES  IN  MUSICAL  HISTORY. 

3.  When  and  from  whom  did   he  receive  the  com- 
mission to  write  the  work  here  treated? 

4.  What  is  said  of  the  appropriateness  of  the  title? 

5.  With  what  is  the  oratorio  opened? 

I) .     What  is  the  title  and  character  of  the  first  chorus? 

7.  What  two  choruses  follow  the  one  entitled, 
••Praise  His  Awful  name?" 

H.  What  descriptive  recitative,  quartet  and  chorus, 
bring  the  first  part  to  a  close? 

9.     With  what  does  the  second  part  open? 

10.  What  beautiful  duet  occurs  in  the  second  part. 

11.  What  two  choruses  occur  in  the  second  part  and 
what  is  their  character? 

12.  What  is  the  comparative  rank  of  this  oratorio? 

13.  What   class    of  sacred    music    does    it    closely 
resemble? 

14.  What  is  the  general  impression  of  this  oratorio 
upon  the  listener? 

15.  What  qualities  of  the  music  are  rated  lowest  in 
the  scale  of  valuation? 


STUDIES  AV  MUSICAL  HfSTORT.  49 


CLASS    E.     SYMPHONY. 

DEFINITION  OF  QUALITIES  AND  CHARACTERIZATION  <  »K  THE 
SYMPHONY. 

1.  What  was  the  term  symphony  first  used  to  desig- 
nate? 

2 .  From  what  class  of  music  was  the  quartet  evolved? 

3.  Through  what  means  did  the  symphony  attain 
independence  as  an  instrumental  form. 

4.  With  what  was  its  earlier  development  synchro- 
nous? 

5 .  How  does  the  Symphony  compare  with  the  Sonata 
in  form  and  in  the  conditions  of  its  origin  and  develop- 
ment? 

6.  What  two  classes  of    pictorial  art  illustrate  the 
relative   importance    and    character    of   the  Sonata  and 
Symphony? 

7.  In  what  wa}^,  according  to  this  analogy,  does  the 
Symphony  excell  the  Sonata? 

8.  In  what  spirit  was  the  Symphony  conceived? 

9.  With  whom  does  the  Symphony  reach  its  highest 
development  and  purest  form?    Recite  the  quotation  froir 
Beethoven . 

10.  What  did  Haydn  contribute  toward  the  devel- 
opment of  this  form  of  musical  art? 

11 .  What  did  Beethoven  contribute  to  the  Symphony? 

12.  Who  were  Beethoven's  three  greatest  successors 
in  the  treatment  of  this  form? 

13.  What  composers  of  the  romantic  type  have  ex- 
celled in  the  composition  of  Symphonies? 

11 .     What  is  meant  by  "formal  beauty?" 
15.     What  is  meant  by  "originality?" 


TN  MCS/CAL 


16.  What  is  meant  by  -  •thematic  work?" 

17.  What  is  meant  by  ••expressiveness?" 
is.     What  is  meant  by  "orchestration?" 

1!).      I'pon  what  does  the  •  -pleasing  quality"  of  a  work 
depend? 


SYMPHONY    BY"   MO/ART. 

1  .      With  what  is  the  form  of  the  symphony  identical? 

2.  Jn    what   three   works  did   the  form  of  the  sym- 
phony culminate: 

3.  Why  is  the  name  ''Jupiter"  appropriately  applied 
to  this  work? 

4  .     By  whom  was  the  orchestral  symphony  developed? 
o.      What  works  furnished  the  model  for  the  orches- 
tral symphonies  of  Haydn? 

6.  Mow  many  symphonies  did  Haydn  compose? 

7.  In  what  manner  did  he  spend  most  of  his  musical 
life? 

8.  What  advantages  or  disadvantages  resulted  from 
the  limited  resources  of  Haydn's  orchestra? 

9.  What  advantages  had   Mozart  over   Haydn  as  a 
composer  of  symphonic: 

10.  In  what  respects  did  Mozart  surpass  Haydn  as  a 
result  of  these  advantages? 

1  1  .  What  degree  of  development  was  reached  in  the 
"  Jupiter  "  symphony? 

12.  What  excellence  does  the  "  Jupiter  "  symphony 
possess  which   has  never  been   surpa>sed  even  by  Beet- 
hoven? 

13.  What  other  excellences  does  this  work  possess  in 
an  eminent  degree? 

14.  What  two  qualities  are  rated  highest  in  the  scale 
of  valuation? 


STUDIES  7;V  MUSICAL  HISTORY.  51 

FIFTH   SYMPHONY    IN    C    MINOR  BY  BEETHOVEN*. 

1 .  When  is  it  supposed  that,  Beethoven  first  conceived 
the  ideas  contained  in  this  work? 

2.  What  other  symphony  was   finished    in    the   year 
1808? 

3.  What  is  said  of  the  popularity  of  the  "  fifth  sym- 
phony?" 

4.  What  four  notes   form    the  characteristic  and  im- 
pressive motive  of  this  work? 

5.  In  what  words  did    lUvthoven   express  the  mean- 
ing of  these  tones? 

6.  To  what  does    Sir    George    Grove    attribute    the 
greatness  of  this  work? 

7.  Characterize  the  work  in  the  language  of  this  emi- 
nent writer  as  quoted  in  the  text. 

8.  What  thoughts  are  suggested  by  the  first  allegro? 

9.  What  is  the  emotional  character  of  the  andante? 

10.  What  impression  is  conveyed  by  the  scherzo? 

1 1 .  What  is  the  nature  and  effect  of  the  finale? 

12.  Give  the  final  characterization  of  the  work  in  the 
language  of  the  text. 

13.  What  does  the  qualitative  analysis  indicate? 

(See  Manual  of  Music,  page  195 .) 

SCOTCH  SYMPHONY   IN   A   MINOR   BY   MENDELSSOHN. 

1 .  From  what  did  Mendelssohn  derive  the  impres- 
sions which  resulted  in  the  composition  of  this  symphony? 

2.  What  other  work  resulted  from  the  same  experi- 
ence? 

3.  What  two  celebrated  overtures  had  Mendelssohn 
produced  at  the  age  of  twenty? 

4.  Of  what  peculiar  talent  did  these  works  give  evi- 
dence? 

5 


r-:.S   /.V  MUSICAL  HISTORY. 


5.  What  is   said  of  the  dramatic  force  of  Mendels- 
sohn's works? 

6.  What  is  said  of  the  lyric  element  in  his  composi- 
tions? 

7.  How  does  Mendelssohn  rank  as  a  master  of  Form 
in  musical  composition? 

8.  With  what  does  the  first  movement  of  this  sym- 
phony open  and  close? 

9.     What  is  the  form  of  this  movement? 

10.  With  what  does  the  second  movement  open  and 
by  what  instrument  is  it  rendered? 

11.  What  follows  the  opening  of  the  second 


12.  What  is  said  of  the  character  and  treatment  of 
the  second  movement? 

13.  What  is  the  introduction  to  the  finale? 

14.  What  great  English  national  song  is  introduced 
in  flu-  tinale? 

15.  What  effect  has  this  innovation  upon  the  finale? 
l(j.     To  whom  was  this  work  dedicated? 

(See  Manual  of  Music,  page  355  .) 

SYMPHONY  IN  C  MAJOR  BY  SCHUBERT. 

1.  In    what    respect   was    Schubert   an    exceptional 
genius? 

2.  What  two  characteristics  in  his  works  result  from 
this  continuous  and  inexhaustible  flow  of  ideas? 

3.  In  what  respect  does  he  materially  differ  in  style 
from  Mendelssohn? 

4.  Which  of  Schubert's  compositions  best  illustrates 
these  characteristics? 

5.  What  is  the  first  movement  of  this  symphony? 

6.  What  is  the  character  of  the  introduction? 


STUDIES  IN  MUSICAL  HISTORY.  53 

7.  In  what  number  of  measures  and  by  what  instru- 
ments is  the  introduction  announced? 

8.  Describe  this  part  of  the  work  in  the  language  of 
the  text. 

9.  By  what  instruments  is  this  melody  successively 
taken  up  and  how  treated? 

10.  To  what  theme  does  this  beautiful  melody  finally 
lead? 

11.  What  is  the  character  of  the  allegro  movement? 

12.  Describe  the  character  of  the  next  three  move- 
ments in  the  words  of  the  text. 

13.  What  length  of  time  is  required  for  the  perform- 
ance of  this  work? 

14.  How  did  Schumann  regard  this  symphony.' 

15.  What  two   qualities  are  rated  highest  in  the  scale 
of  valuation? 


DANCK   (IK   DEATH   BY  SAINT  SAKNS. 

1.  What  is  the  character  of  the  scene  portrayed  in 
this  symphony? 

2.  To  what  style  or  class  of    music   does    this    work 
properly  belong? 

3.  What  does  Saint-Saens  say  of  ';  program  music?" 

4.  Describe  as  nearly  as  possible,  without  quoting  the 
text,  the  incidents  of  the  scene  suggested  by  this  com- 
position. 

5 .  What  two  qualities   are  rated  highest  in  the  scale 
of  valuation? 

0.     In  what  elements  is  this   symphony  inferior  as  a 
work  of  art  in  comparison  with  recognized  standards? 
See  Manual  of  Music,  page  500. 


54  STUDIES  IN  MUSICAL  HISTORY, 

!.!•>   I'KKUnKS,  BY  LISZT. 

1 .  What  is  the  difference  of  form  between  a  sympho- 
nic poem  and  a  regular  symphony? 

2.  In  what  respect  does  the  ideal  of  the  symphonic 
poem  differ  from  Ihat  of  the  symphony? 

3.  Of  what  style  of  music  was  the  Les  Preludes  one 
of  the  first  compositions? 

4.  From  what  did  Liszt  derive  the  impressions  which 
characterize  this  work? 

5.  Repeat  the  entire  quotation  from  "Meditations  of 
Lamartinc"  in  the  language  of  the  text? 

6.  Characterize  this  work  in  the  closing  words  of  the 
text? 

7.  What  valuation  is  assigned  to  the  quality  of  -'ex- 
pressiveness?" 

8.  What    quality    is    rated    lowest    and    what  is  the 
valuation  assigned  to  it? 


"OXFORD"  SYMPHONY.    KV     HAYDN. 

1.  What  is  Haydn's  relation  to  the  development  of 
the  symphony? 

2.  What  is  the  importance  of   the  symphony    as  a 
type  of  instrumental  music? 

3.  When  did  Haydn  produce  his   first  musical  com- 
position? 

4  When  did  Haydn  produce  his  last  musical  work? 

5  How  many  symphonies  did  Haydn  compose? 

6.  What  is  Haydn's  relation  to  the  development  of 
instrumentation? 

7.  What  meaning  for  Haydn    had    the  different  in- 
struments of  the  orchestra.     (Repeat  the  quotation  given 
in  the  text) . 


STUDIES  IN  MUSICAL  HISTORY.  55 

8.  From  what  circumstance  did  the  "Oxford"  de- 
rive its  name? 

9.  How   many  movements  does  the  work  contain 
and  by  what  are  they  preceded? 

10.  What  is  the  general  character  of  the  work? 

1 1 .  What  is  said  of  the  different  movements? 

12.  What  is  the  general  impression  of  this  symphony 
upon  the  listener? 

13.  What  characteristic  of  Haydn  is  manifest  in  this 
work? 

14.  What  is  said  of   the   subjects    chosen  by  Haydn 
for  this  work  and  of  their  treatment? 


56  STUDIES  IN  MUSICAL  HISTORY. 


CLASS    F.     CONCERTO. 

HKFINIT1ON  OF  QUALITIES   AND  CHARACTERIZATION   OF 
CONCERTO. 

1 .  What  does  the  term  "  concerto  "  imply? 

2.  What  is  a  concerto? 

3.  If  the  intention  of  the  concerto,  as  stated  in  the 
text,  be  fully  carried  out,  what  impression  will  the  list- 
ener receive? 

4.  What  consideration  has  actuated  the  selection  of 
the  concertos  presented  in  these  studies? 

5 .  What  is  the  form  of  the  concerto? 

6.  What  is  the  difference  between  the  concerto  and 
the  sonata? 

7.  From    what   class   of   music   was    the   concerto 
evolved  and  in  response  to  what  desire? 

8.  By  what  class  of  musicians  were  the  earliest  con- 
certos written? 

9 .  For  what  were  the  earliest  virtuoso  distinguished 
aside  from  their  service  as  executants? 

10.  Wli at  was  the  result  of  the  efforts  of  early  vir- 
tuoso in  composition? 

11.  Why  was  the  result,  from  a  musical  standpoint, 
more  favorable  under  these  conditions  than  under  those 
which  exist  at  the  present  time? 

1 2 .  Mention  one  of  the  earliest  composers  in  this  form . 

13.  Who  was  Corelli  and  when  did  he  flourish? 

14.  By  what  successor  of  CorelH  was  the  concerto 
lirought  to  greater  perfection? 

15.  What  is  said  of  Bach's  activity  in  this  depart- 
ment of  musical  composition?     (See  analysis  of  Back's 
Italian  Concerto,  Manual  of  Music,  page  80.) 


STUDIES  IN  MUSICAL  HISTORY.  57 

16.  What  is  said  of  the  concertos  of  Mozart? 

17.  What  is  the  first  condition  of  a  successful  con- 
certo according  to  the  text? 

18.  What  is  the  second  condition  upon  which  a  con- 
certo depends  for  its  success? 

19.  What  is  the  third  condition  of  excellence? 

20.  Which  concerto  of  the  present  list  best  exempli- 
fies these  principles? 

21.  What  two  others  come  next  in  rank? 

EMPEROR  CONCERTO  BY  BEETHOVEN. 

1 .  How  many  concertos  for  piano  and  orchestra  did 
Beethoven  write? 

2.  When  was  the  first  concerto  written? 

3.  What  is  said  of  the  style  of  the  first  of  Beetho- 
ven's concertos? 

4 .  When  was  the  second  concerto  written? 

5 .  Give  the  key  and  opus   number   of   the   second 
concerto. 

6 .  Give  the  key ,  opus  number  and  date  of  Beetho- 
ven's  third  concerto. 

7 .  Give  the  key,  opus  number  and  date  of  the  fourth 
concerto 

8.  What  other  important  works  were  composed  by 
Beethoven  about  this  time? 

9.  When  was  the  fifth  or  emperor  concerto  written? 

10.  What  important  works  are  mentioned  as  having 
preceded  this  concerto? 

1 1 .  What  is  the  character  of  the  subject  of  this  work? 

12.  Who  has  been  most  successful  in  performing  this 
concerto  in  the  United  States? 

.    l-'J.     What  is  the  general  impression  of  this  work  upon 
the  listener? 


58  STUDIES  /-V  MUSICAL  HISTORY. 

CONCERTO  IN  A  MINOR  BY  SCHUMANN. 

1 .  For  what  was  the  first  movement  of  this  concerto 
intended  and  when  written? 

2.  When,  by  whom  and  under  what  auspices  was  the 
work  first  rendered  in  public? 

3.  What  conditions  which  usually  influence  the  style 
of  less  independent  writers  did  Schumann  utterly  disre- 
gard? 

4.  What  does  the  performance  of  his  works  demand 
of  the  artist? 

5.  In  what  resj>ect  are  his  works  inferior  to  those  of 
Chopin  and  Mendelssohn? 

6.  What  is  said  of  Schumann's  relation  to  Beethoven? 

7.  What  is  the  importance  of  the  first  bar  of  the 
opening  theme  of  this  concerto? 

8.  How  is  the  orchestra  treated? 

9.  What  is  the  meaning  of  the  word  tutti? 

10.  What  does  the  first  movement  include  and  what 
is  its  general  character? 

11.  By  what  is  the  closing  allegro  introduced  and 
what  is  the  technical  character  of  this  movement? 

12.  Mention  one  reason  why  this  work  is  not  oftener 
played. 

13.  What  peculiarities  render  a  satisfactory  interpre- 
tation difficult? 

14.  What  is  the  general  impression  of  this  work  upon 
the  appreciative  listener? 


CONCERTO  IN    E   MINOR  BY  CHOPIN. 

1 .  How  old  was  Chopin  when  he  produced  this  work? 

2.  What  other   important  works  had  he  composed 
before  1830? 


STUDIES  7.V  MUSICAL  HISTORY.  .V.i 

3.  What  composers  are  said  to  have  influenced  Cho- 
pin's style? 

4.  By  what  characteristics  was  Chopin's  style  dis- 
tinguished from  the  beginning? 

5.  For  what  instrument  was  Chopin  a  favorite  com- 
poser? 

6.  What  is  the   character   of  the   orchestral  part  of 
this  concerto? 

7.  What  is  said  of  Tausig's  version  of  the  work? 

8.  With  what  does  the  first  allegro  open? 

9.  By  what  is  the  bold  phrase  iirthe  opening  of  the 
first  allegro  followed? 

10.  How  is  the  second  theme  introduced? 

11.  I  low  are  the  themes  treated  in   this  movement 
and  with  what  does  it  close? 

12.  Describe  the  Romance  in  E. 

13.  What  is  the  relative  importance  of  the  closing 
Rondo? 

14.  What  is  the  treatment  of  the  principal  theme  and 
what  does  it  reflect? 

15.  In   what   manner    are  the  closing  runs  of  this 
movement  sometimes  improperly  rendered? 

16.  How  does  this  concerto  compare  with  the  one  in 
F  minor? 

17.  What   is  said   of  the  second   movement  of   the 
concerto  in  F  minor? 

18.  What   is  the  general    impression   of  the  present 
work  upon  the  listener? 

19.  What  two  qualities  are  rated  highest  in  the  scale 
of  valuation? 

20.  What  two  qualities  are  rated   lowest  in  the  scale 
of  valuation? 


60  STUDIES  7jV  MUSICAL  HISTORT. 

CONCERTO  IN  G  MINOR  BY  SAINT-SAENS. 

1.  "What  is  Saint-Saens'  nationality? 

2.  How  many  concertos  has  Saint-Saens  written? 

3.  Which  of  Saint-Saens  concertos  is  most  popular? 

4.  What  is  the  s'yle  of  the  opening  andante? 

5.  What  follows  the  opening  andante? 

6.  What  is  the  relative  impor  a  ice  of  the  orchestra 
in    the  movement  above  mentioned  and  in  the  Allegro 

O 

Seherzando? 

7.  "What  is  said  of  the  popularity  of  this  movement 
and  with  what  is  it  compare1!? 

8.  To  what  is  the  popularity   of  the  Allegro  Scher- 
zando  attributed? 

9.  What   is   here    affirmed  of   the   Dance   Macabre 
(Dance  of  Death)  treated  in  Class  E  of  these  Studies? 

10.  What  other    prominent   master   of   the   French 
school  is  here  mentioned? 

1 1 .  What  is  the  last  movement  of  this  work? 

12.  "What  peculiarity  in  the  last  movement  is  men- 
tioned in  the  text? 

13 .  What  are  the  technical  requirements  of  the  Finale? 

14.  How    is  the  work   regarded  by  artists  and  the 
public? 

15.  What  secures  for  this  work  its  high   rank  among 
concertos? 


CONCERTO  IN  G.   MINOR  BY  MENDELSSOHN. 

1 .  What  two  elements  not  often  united  in  the  works 
of  one  composer  does  this  concerto  exhibit? 

2 .  What  characteristics  of  classic  music  ai  e  manifest 
in  tliis  concerto? 

3.  In  what  is  it  related  to  the  romantic  in  music? 


STUDIES  JN  MUSICAL  HISTORY.  61 

4 .  What  is  meant  by  romanticism  in  music? 

5.  What  does  romanticism  seek  to  express  and  at 
the  sacrifice  of  what  considerations? 

6.  What  moods  does  the  classical  ideal  imply? 

7.  In  what  traits   is  Mendelssohns  relation  to  the 
classic  and  romantic  shown? 

8.  What  extreme  of  emotional  expression  did  Men- 
delssohn avoid? 

9.  Mention  one  of  Mendelssohns  compositions  which 
most  prominently  exhibits  the  romantic  spirit. 

10.  Is  this  same  spirit  of  romanticism  observable  in 
any  large  number  of  his  works? 

11 .  Of  what  is  this  concerto  an  admirable  revelation? 

12.  What  traits  of  character  does  it  show. 


MUST   CONCKKTO    IN    K    FLAT    MAJOR   BY    LISZT. 

1 .  Does  this   concerto  differ  from  former  works  in 
this  form? 

2.  To  what  is  this  difference  attributable? 

o .  What  is  the  character  of  the  orchestral  treatment 
and  with  what  is  it  comparable? 

4.  At  what  period  of  the  composer's  life  was  this 
concerto  sketched  and  finished? 

~> .  What  other  celebrated  works  were  produced  in 
this  same  period? 

6.  By  whom  and  on  what  occasion  was  it  first  ren- 
dered? 

7.  In  what  respect  did  Lis/t  deviate  at  the  beginning 
from  the  usual  form? 

8.  What  does  this  innovation  require  of  the  pianist? 

9.  Of  what  is  this  first  part  composed  and   to  what 
does  it  lead? 


62  STUDIES  IN  MUSICAL  HISTORY. 

10.  Describe  the  movement  which  follows  and  leads 
to  the  scherzo? 

1 1 .  Wuat  is  the  character  of  the  scherzo? 

12.  Describe  the  movement  following  the  scherzo. 

13.  Wi.h  what  does  the  work  end? 

14.  What  is  the  general  impression  of  this  work  upon 

the  listener? 

15.  What   qualities  are  rated   highest  in  the  scale  of 

valuation? 


CONCKKTo  IN    K  MINOR,  BY  PAGANINI. 

1.  Why  is  this  concerto  especially  interesting? 

2.  What  is  the  character  of  the  last  movement  and 
what  is  its  relative  importance  in  the  work? 

3.  Of  what  was  Paganini  the  inventor  and  what  does 
this  work  illustrate? 

4.  What  are  the  ''natural  harmonics"  and  how  were 
they  employed  by  Paganini? 

5.  What  technical  feats  did  Paganini  introduce  in  the 
finale  of  this  concerto? 

6.  What  use  of  a  single  string  is  repeatedly  illustra- 
ted in  this  work? 

7.  What  was  the  apparent  object    of  employing   a 
single  4th  or  3rd  string  where  the  same  tones  might  have 
bivu  much  more  easily  obtained  from  the  2nd  or  1st? 

8.  By  what  device  did   Paganini  take  advantage  of 
the  orchestral  players  who  accompanied  him? 

9.  What   is   the  valuation  of  "display  of  solo  in- 
strument" in  the  qualitative  table? 

10.  What  valuation  is  given  to  ''concerted  effects?" 

1 1 .  What  is  the  general  impression  of  this  concerto 
upon  the'listener? 


STUDIES  IN  MUSICAL  11 'IS 'TORT.  <;.) 

CLASS    G.     SONATA. 

DEFINITION  OF  QUALITIES  AND  CHARACTERIZATION  OF  SONATA. 

1.  To  what  does  the  name  sonata  apply? 

2.  During  what  length  of  time  lias  the  sonata  form 
been  in  process  of  development? 

3.  What  does  the  history  of  the  sonata  form  reveal? 

4.  Of  what  is  this  form  the  expressional  medium? 

5 .  What  two  agencies  have  contributed  to  the  rhyth- 
mical element  of  the  sonata? 

G.     In  what  respects  has  the  drama  contributed  to  the 
development  of  this  form? 

7.  Detine  the  words  polythetic  and  monothetic. 

8.  In  what  manner  did  the  people's  song  contribute 
to  the  enrichment  of  the  sonata? 

9.  In  what  way  has  the  fugue  been   an  important 
factor  in  the  development  of  the  sonata? 

10.  From  what  primitive  word  was  sonata  derived 
and  what  was  its  original  meaning? 

11 .  For  what  purpose  was  the  word  sonata  first  used? 

12.  What  is  the  present  full  signification  of  the  word 
sonata? 

13.  From  what  form  immediately  preceding  it  in  the 
course  of  development  of  instrumental  music  was  the  so- 
nata separated  or  evolved? 

14.  Of  what  was  the  suite  composed   and   in  what 
style  was  it  written? 

15.  Mention  three  of  the  earliest  writers  of  violin  so- 
natas . 

16.  What  composers  were  among  the  first  to  write 
sonatas  for  keyed  instruments? 


64 


STUDIES  IN  MUSICAL  HISTORY 


17.  For  what  instruments  did  Sebastian  Bach  com- 
pose in  this  form? 

18.  Did  these  early  writers  all  adhere  to  a  fixed  rule 
or  model,  or  did  their  works  differ,  each   contributing 
independently  to  the  formation  of  the  sonata? 

19.  With  what  is  Haydn  accredited  in  the  treatment 
of  this  form? 

•20.  AY  hat  modification  in  style  and  treatment  do  you 
understand  by  the  substitution  of  monothetic  and  filial 
for  the  polythetic  idea? 

21.  What  did  Beethoven  contribute  to   the    sonata 
form  and  with  what  result? 

22.  What  are  the  primary  qualities  of  the  sonata  ac- 
cording to  the  qualitative  analysis? 

SONATA  IN   E   FLAT  BY   HAYDN. 

1.  For  what  special  service  is  Haydn   historically 
identified  with  the  development  of  the  sonata? 

2.  Which  of  Haydn's  works  were  first  presented  to 
London  audiences? 

3.  What  was  Carl  Philip  Emanuel  Bach's  service  to 
the  sonata  form? 

4 .  What  is  the  difference  between  the  fugue  and  the 
sonata? 

5.  By  what  conditions  was  the  free  development  of 
the  sonata  hindered  before  this  time? 

6.  What  musical  element,  not  before  utilized  in  in- 
strumental composition,  did  Haydn  adopt,  which  largely 
determined  the  melodic  and  formal  character  of  his  works 
and  rendered  them  so  popular? 

7.  What  condition  contributed  to  the  freest  exercise 
of  Haydn's  peculiar  artistic  pent  and  rendered  his  works 
so  original? 


STUDfES  AV  MUSICAL  HISTORY.  6f> 

8.  In  what  particular  is  Haydn's  study  of  the    folk- 
song clearly  manifest  in  his  music? 

9.  What  other  characteristics,  not  before  mentioned, 
are  noticeable  in  the  sonatas  of  Haydn? 

10.  In  what  particulars   did   he  approach    nearest  to 
the  Beethoven  period  in  his  treatment  of  this  form  of  art? 

11.  What  quality  of  this  work  is  rated  highest  in  the 
scale  of  valuation? 

12.  What  quality  is  rated  lowest? 


SONATA    IX    C    MINOR   ]!V    MO7.AKT. 

1 .  How  does  this  sonata  deserve  to  be  characterized ? 

2.  What  is  said  of  the  mechanical  devices  employed 
in  this  sonata? 

3.  What  is  the  style  of  the  opening  fantasia? 

4.  In  what  keys  are  the  three  movements  of  the  ><>- 
nata  proper  written  and  what  is  said  of  its  form? 

5.  What  is  the  character  of  the  adagio  and   what 
does  its  treatment  exemplify? 

6.  P»y  what  is  the  orchestra  suggested  in  the   open- 
ing movement  of  the  fantasia? 

7.  What  rare  gift  did  Mozart,  nossess  in  a  high  de- 
gree? 

8.  What  is  expressed  in  this  sonata? 

9.  What  two  chords  did  Mozart  use  with  remarkable 
skill? 

10.  Characterize  his  treatment  of  these  chords  in  the 
language  of  the  text. 

1 1 .  What  quality  of  this  work  is  rated  highest  in  the 
scale  of  valuation? 

12.  What  qualities  are  rated  lowest? 


<;<;  STUDIES  IN  MUSICAL  HISTORY. 

SONATA    A1TASSIONATA    '{Y    BEKTHOVKN. 

1.  What    is    the    comparative    importance    of    this 
sonata? 

2 .  What  does  this  work  represent? 

:$.      What  emotions  are  reflectd  in  this  composition. 
I .     For  what  is  the  first  movement  distinguished? 
5.     Of  the  three  thematic  elements  which  is  first  :md 
of  what  feeling  is  it  expressive? 

fi .     What  is  the  second  theme  and  what  does  it  suggest? 

7.  How  is  the  third   motive  constructed    and   what 
does  it  express? 

8.  What  other  work  of  Beethoven's  represented  in 
these  studies  contains  a  similarly  constructed  motive  ex- 
pressive of  a  like  feeling? 

9.  What  is  the  character  of  the  melody  which  is 
placed  over  against  these  three  thematic  clauses? 

10.  Characterize  this  movement  in   the  language  of 
the  text. 

11.  What  is  the  andante  and  how  is  it  treated? 

12.  Describe  the  finale. 


SONATA  IN  A  MINOR  BY   SCHUBERT. 

1.  Describe  Schubert's  surroundings  at  the  time  this 
sonata  was  written. 

2.  Describe  the  character   of  Schubert's  genius  in 
the  language  of  the  text. 

3.  Characterize  Schubert's  sonatas  in   the  language 
of  the  text. 

4.  What  is  said  of   Beethoven's  sonatas  and  what 
difference  of  style  does  the  comparison  suggest? 

5.  What  songs    did   Schubert  compose  about    the 
time  this  sonata  was  written  and  to  what  do  they  furnish 
a  clue? 


STUDIES  7.V  MrSfCAL  ///STOitr.  07 


6.  What  is  the  emotional  quality  of  the    lirsl  move- 
ment? 

7.  What  is  the  second  movement? 

<S.      What  is  said  of  the  third  movement? 
9.      With  what  does  the  sonata  close    and  for  what  is 
it  conspicuous? 

10.  What    qualitv    is    rated    highest    in  the  scale  of 
valuation? 

11.  What  quality  is  rated  lowest? 


SOXATA  IN*  <;  MINOR  nv  SCHUMANN. 

1.  What  is  Schumann's  position    among   composers 
of  instrumental  music? 

2.  Of  what  does  this  sonata   present  an  illustration? 

3.  In  what  features   of   this   work   are   Schumann's 
powers  best  exemplified? 

4.  Of  what  limitations  in  the  art  of  composition  does 
this  work  give  evidence? 

f>.     How   many  movements  does   this   work  contain 
and  what  is  the  character  of  the  main  outlines? 

6.  What  is  said  of  the  materials  utilized  in  this  work? 

7.  What  departure  from  the   visual  custom   is  ob- 
served in  the  first  movement? 

8.  Of  what  characteristic  of  Schumann  does  the  an- 
dantino  furnish  an  example? 

9.  What  is  the  expressional  character  of  the  scherzo 
:.n  I  rondo  and  what  effect  do  they  produce  upon  the 
listener? 

10.  What  is  Beethoven's  method  of  building  a  climax? 

11.  Characterize  the  con trary  impressions  produced 


68  STUDIES  IN'  MUSICAL  HISTORY. 

upon  the  listener  by  the  music  of  Beethoven  arid  Schu- 
mann in  the  language  of  the  text. 

12.  What  qualities  of  this  work  are  rated  highest  in 
the  scak  of  valuation? 

13.  What  quality  is  rated  lowest. 


SONATA   IN   F   MIXOU   J5Y    (  .    I'.    K.    HACK. 

1 .  "What  was  C.  P.  E.  Bach's  rank  among  pianoforte 
virtuosi  of  his  time? 

2.  What  great  service  to  musical  art  is  accredited  to 
C.  P.  E.  Bach? 

3 .  What  claim  has  the  present  work  to  special  inter- 
est and  admiration? 

4.  Of  how  many  movements  does  the  work  consist 
and  what  are  they? 

•       5.     What  excellences  does  the  work  possess  and  what 
composers  do  they  suggest? 

6.  What  traces  of  Sebastian  Bach's  influence  are  dis- 
coverable in  this  composition? 

7 .  What  qualities  of  Beethoven  does  it  foreshadow? 

8.  What  is  said  of  the  emotional  character  of  this 
work? 

9.  What  is  the  character  of  the  rhythms? 

10.  What  is  expressed  in  the  melody? 

11.  What  composer  and  what  emotional  qualities  are 
mentioned  as  foreign  to  the  style  of  this  work? 

12.  AVhat  is  said  of  the  "chords"  and  "counterpoint" 
of  the  work? 

13.  What  quality  is  rated  highest  in  the  scale  of  val- 
uation? 

14.  What  qualities  are  rated  lowest? 


STUDIES  IN  MUSICAL  HISTOR1 .  69 

SONATA  IN  A  FLAT,  BY  WEBER. 

1 .  Of  what  school  of  musical  art  in  its  full  develop- 
ment was  Weber  the  first  great  representative? 

2.  How  many  sonatas  did  Weber  write? 

3.  What  other  great  composer  produced  some  of  the 
best  of  his  works  in  this  form  at  the  same  time? 

4.  What  is  said  of  the  form  of  this  sonata? 

5.  What  is  the  character  of  the  first  movement? 

6.  What    is    said   of   the    second    movement  of  the 
sonata? 

7 .  How  is  the  theme  of  the  second  movement  after- 
ward treated? 

8.  What  is  the  character  of  the  menuetto? 

9 .  What  is  the  finale? 

10.  How  does  this  work  rank  in  point  of  difficulty? 

11.  What  was  Weber's  rank  as  a  pianist  at  the  time 
this  sonata  was  written? 

12.  Characterize  the   work    in    the    language  of  the 
quotation  from  Ambros. 


70  STCDfES  IN  MUSICAL  HfSTORT. 


CLASS  H.     CHAMBER  MUSIC. 

DKKIMTIDN    OK    ol'ALITIKS    AND   CH  ARACTKUI/ATION  OF 
CHAMBKK  Ml'SIC. 

1.  What  does  the  term  "chamber  music"  imply? 

2.  For  what  class  of  players  is  chamber  music  writ- 
ten? 

3.  What  is  the    difference    between    chamber  music 
and  concerto  music.'' 

4.  Why  does  the  j>erformance  of  chamber  music  re- 
quire players  of  eminent  and  equal  ability? 

5.  In  what  sense  is   a  chamber  piece   more  than  a 
concerto? 

6.  AVhat  names  are  applied  to  chamber  pieces  and 
why? 

7.  When  is  the  term  "string"  added  or  prefixed? 

8.  What   is   the  relative  importance  of  the  piano 
when  used  with  other  instruments  in  a  piece  of  chamber 
music? 

9.  Who  perfected  the  form  of  the  string  quartette? 

10.  What  other  composers  excelled  in   the  composi- 
tion of  works  in  this  form? 

11.  Why  is  it  difficult  to  give  a  satisfactory  defini- 
tion of  qualities  applicable  to  all  the  specimens  of  cham- 
ber music  selected  for  these  Studies? 

1 2 .  What  qualities  should  an  ideal  chamber  piece  con- 
tain? 

TRIO  IN  B  FLAT  MAJOR  BY  RUBINSTEIN. 

1 .  To  what  school  or  class  of  composers  does  Rubin- 
stein belong  and  what  is  his  rank? 

2.  In  which  does  Rubinstein  most  excel,  compos- 
ing or  piano  plaj'ing? 


STUDIES  IN  MUSICAL  HISTORT.  71 

3.  In  what  respect  does   Rubinstein's  music  differ 
from  that  of  other  writers  of  the  new  Russian  school? 

4.  What  composers  are  most  prominent  in  the  Rus- 
sian school  at  the  present  time? 

5 .  In  the  treatment  of  what   forms   has  Rubinstein 
been  most  successful? 

6.  What  symphony  of  exceptional  merit  has  Rubin- 
stein composed? 

7.  What  is  the  character  of  the  present  Trio? 

8.  What  special  merits  are  mentioned  in  the  text? 

9 .  What  mood  is  reflected  in  the  adagio? 

10.  By  what  is  the  adagio  contrasted  and  with  what 
effect? 

11.  For  what  is  the   finale   written   and  what   is  its 
relative  merit? 

12.  What  criticism  may  be  inferred  from  the  closing 
sentence  of  the  text? 

13.  What  quality    is    rated  highest  in  the  scale  of 
valuation? 


QUARTET  IN   C  MINOR  BY  BRAHMS. 

1.  Who  was  "the  mighty  Cantor  of  Leipsig"  with 
whom  Brahms  is  here  compared? 

2.  What  intellectual  powers  does  he  possess  in  com- 
mon with  Sebastian  Bach? 

3 .  What  other  qualities  essential  to  a  great  composer 
does  he  possi 

4.  On  what  plane  of  study  is  the  real   power  of  the 
present  work  most  deeply  felt? 

5 .  In  what  respects  are  Bach ,  Beethoven  and  Brahms 
related  in  musical  art? 


72  STUDIES  IN  MUSICAL  HISTORY. 

6.  What  broader  scope  and  significance   is  ascribed 
to  the  music  of  these  three  composers? 

7.  How  must  we  listen  to  this  quartet  if  we  would 
understand  it? 

8.  Is   this   quartet  to    be    regarded    as  a  classic  or 
as  a  romantic  composition? 

9.  Characterize   this    composition     in     the     words 
quoted  in  the  last  four  lines  of  the  text. 

10.     What  quality  is  marked  highest  in   the  scale  of 
valuation? 


STKING  QUARTET,  OP.  131,  BY  BEETHOVEN. 

1 .  What  is  the  importance  of  the  string  quartet  as  a 
form  of  instrumental  music? 

2.  What  masters  have  written  perfect  works  in  this 
form? 

3.  What  other  quartets  of  Beethoven   rank  equally 
high  in  merit  with  this  one? 

4.  What  impression  do  Beethoven's  later  works  pro- 
duce upon  the  superficial  listener? 

5 .  How  do  they  appear  to  the  profound  scholar? 

6 .  What  change  came  over  Beethoven  toward  the  end 
of  his  life,  and  how  did  it  affect  his  compositions? 

7.  What  emotions  are  embodied  in  this  quartet,  and 
what  in  its  entirety  does  it  represent? 

8.  What  point  in    musical   development   does    this 
work  attain? 

9.  Recite  the  closing  phrase  of  the  text. 

10.     What  is  remarkable  in  the  valuations  assigned  to 
the  qualities  of  this  work? 


STUDIES  IN  MUSICAL  HISTORY.  73 

G  MINOR  QUARTET  BY  GRIEG. 

1 .  Of  what  race  is  Edward  Grieg  a  descendant? 

2.  Where  was  Grieg  educated? 

3.  What  was  the  source  of  his  musical  inspiration? 

4.  What  national  characteristics  are  reflected  in  his 
compositions,  and  in  what  manner? 

5.  What  was  the  character  of  Grieg's  remote  ances- 
tors? 

6.  How  is  the  spirit  of  this  ancient  race  revealed  in 
the  music  of  Grieg? 

7.  What  essential   element   of   the   classic    does  this 
quartet  lack? 

8.  What   is    expressed    in    this   composition,  and  in 
what  does  its  unity  consist? 

9.  What  is  the  characteristic  quality  of  Grieg's  larger 
works,  and  to  what  school  do  they  belong? 

10.     What  quality  is  rated  highest  in  the  scale  of  val- 
uation? 

QUINTET  FOR  PIANO  AND  STRINGS,  BY  ST.  SAENS. 

1.  To  what  nation  does  Saint-Saens  belong  by  birth 
and  education? 

2.  What  characteristics  of  his  music  ally  him  to  the 
French  school? 

3 .  In  what  characteristics  is  he  related  to  the  Ger- 
man school? 

4.  What  is  said  of  the  character  and  importance  of 
this  quintet? 

5.  For  what  is  this  quintet  especially  remarkable? 

6.  What  characteristic   of   all   his   chamber  music  is 
plainly  illustrated  in  this  composition? 

7 .  To  what  especial  points  of  interest  and  merit  in 
tMs  work  does  the  writer  refer? 


74  STUDIES  IN  MUSICAL  HISTORY. 

8.  Quote  verbatim  the  closing  sentence  of  the  text? 

9 .  What  quality  is  rated  highest  in  the  scale  of  valua- 
tion? 

QUARTET  IN  D  MINOR,  BY  SUHUBEKT. 

1.  Upon   what   poem   and     song   was   this   quartet 
founded? 

2 .  What  does  the  poem  represent? 

3.  What  is  the  character  of  the  music  in  the  song? 

4.  What  two  great  instrumental  works  were  written 
about  the  time  of  this  quartet? 

5.  How  many  subjects  has  the  first  movement  and 
what  does  each  suggest? 

6 .  From  what  is  the  second  movement  developed  and 
what  is  its  character. 

7.  In  what  respect  is  this  work  especially  interesting? 

8.  What  quality  is  rated  highest  in  the  scale  of  valua- 
tion? 

QUINTET  IN  E  FLAT,  BY  SCHUMANN. 

1 .  What  is   the   rank   of   this   quintet  among  other 
chamber  pieces  by  Schumann? 

2.  Upon  what  occasion  was  it  produced  and  by  whom 
was  the  pianoforte  part  rendered? 

3.  What  composer  carried  its  fame  to  Paris? 

4.  Describe  the  first  movement  of  the  work. 

5 .  What  is  the  second  movement  designated  and  how 
treated? 

6.  What  is  said  of  the  finale? 

7 .  What  characteristics  of  Schumann 's  music  are  wel  1 
illustrated  in  this  work? 

8 .  What  has  secured  for  this  work  its  great  popularity? 

9 .  What  quality  is  rated  highest  in  tbe  scale  of  valua- 
tion? 

10.     What  quality  is  rated  lowest? 


STUDIES  tN  MUSICAL  HISTORY  75 

CLASS    I.      SOXG. 

DEFINITION  OF  QITALITIKS  AND  CH ARACTKHI/ATIOX  OF  SONG. 

1 .  What  is  meant  by  song? 

2.  What  is  tlic   character  and    importance    of    this 
class  of  music? 

3.  What  does  the  term  song  technically  imply? 

4.  What  originally  was  the  fixed  type  of   verse  for 
song? 

5.  What  is  said  of  the  structure  of  song  melodies  at 
the  present  time? 

6.  What  is  said  of  the  present  style  of  our  song  lit- 
erature? 

7.  What  is  the  character  of  the  most  popular  soni:>.: 
Give  examples. 

8.  How  are  these  simple  songs  commonly  designated? 

9.  To  what  does  the  term  -ballad"  properly  apply? 
10.     What    was   the    first    modification  of  the  simple 

ballad  which  tended  toward  the  development  of  a  more 
elaborate  song  form? 

1  1 .     What  is  the  most  elaborate  song  form  extant? 

12.  What  is  its  character?     Give  examples. 

13.  What  term  is  applied  to  the  simplest  songs  of  the 
French,  and  what  is  their  character? 

14.  What  other  large  class  of  song  literature  do  the 
'  lerniatis  possess? 

lo.      What  is  the  character  of  these  short  songs,  and 
what  composers  have  been  active  in  their  production? 
1C..      Define  the  Aria. 
17.      What  is  the  character  of  the  English  ballad ? 

15.  What  must  be  the  character  of  a  song  text? 


76  STUDIES  IN  MUSICAL  HISTORY. 

19.  What  three  essential  qualities  of  the  music  in  its 
relation  to  the  text  are  mentioned? 

20.  To  what  other   requirements  than  those  of  the 
text  must  the  music  of  the  song  lend  itself? 

21 .  What  is  the  relation  of  the  pianoforte  to  the  song? 


Kill,  KINO,  BY  SCHUBERT. 

1.  What  was  the  Erl  King  in  German  and  Scandina- 
vian mythology? 

2.  What  is  the  story  as  represented  in  Goethe's  ballad? 

3.  What  is  said  of  the  origin  of  this  song? 

4.  Whence  the  special  importance  of  the  Erl  King  as 
a  type  of  song? 

5.  What  two  qualities  are  rated  lowest  in  the  scale  of 
valuation? 

HOME,  SWEET  HOME,  BY  BISHOP. 

1 .  In  what  representation  does  this  song  surpass  all 
others  in  the  estimation  of  English  speaking  people? 

2.  By  whom  was  the  poem  written  and  what  was  his 
condition  in  life? 

3.  What  is  said  of  the  origin  of  the  music? 

4.  What  distinction  is  mentioned  between  the  Scot- 
tish and  English  folk  songs  and  those  of  the  Germans. 

5.  In  what  respect  do  songs  of  this  class  differ  from 
the  Italian? 

6.  What  is  the  merit  of  songs  like  Home,  Sweet  Home 
from  an  aesthetic  standpoint? 

7.  What  quality  is  rated  highest  in  the  seale  of  valua- 
tion? 

8.  What   valuation   is    assigned  to  "harmony"  and 
"accompaniment?" 


STUDIES  IN  MUSICAL  HISTORY.  77 

HE  THE  NOBLEST,  BY  SCHUMANN. 

1 .  What  is  said  of  the  relation  between  Schubert  and 
Schumann  as  song  writers? 

2.  In  what  respect  does  Schumann  surpass  Schubert? 

3.  What  is  said  of  the  voice  and   instrument  as  re- 
lated to  the  text  of  the  song? 

4.  What  practice  common   among  song  writers  (es- 
pecially Italian)  did  Schumann  disregard? 

5.  What  is  said  of  the  songs,    'Woman's  Love  and 
Life?" 

6 .  What  is  the  character  of  the  present  song? 

7.  What  qualities  are  rated   highest  in  the  scale  of 
valuation? 

NON  E  VER,  BY  MATTEL 

1 .  Of  what  is  the  present  song  illustrative? 

2.  What  is  said  of  the  melody  of  this  song? 

3.  To  what  does  this  work   owe  its  effect  upon  the 
hearer? 

4.  What  is  the  relative  importance  of  music  and  text 
in  songs  of  this  character? 

5.  What  is  said  in  evilence  of  the  popularity  of  this 
song? 

6.  Characterize  the  spirit  of   the   music  by   quoting 
the  stanza  given  in  the  text? 

7.  Define  the  character  of  the  melody  and  its  treat- 
ment? 

8.  What  quality  is  rated  highest  in  the  scale  of  valua- 
tion? 

9.  What  quality  is   marked  lowest  in   the  scale  of 
valuation? 

10.     With  what  school  of   song   do   these    valuations 
suggest  a  wide  distinction? 


78  STUDIES  IN  MUSICAL  HISTORY. 

LOST  CHOKD,  BY  SULLIVAN. 

1 .  Iii  what  particular  does  the  Lost  Chord  rank  among 
the  best? 

2.  Quote  the  lines  of  the  poem  given,  and  repeat  the 
paraphrase  of  the  writer. 

3 .  What  is  said  of  the  relation  of  the  music  to  the 
words? 

4.  What  is  said  of  the  melody,  harmony  and  accom- 
paniment of  this  song? 

5.  What  "clever  points"  in  the  music  are  mentioned 
and  where  do  they  occur? 

6.  What  is  the  character  of  the  music  at  the  climax? 

7.  What  is  the  relation  of  this  work  to  the  Italian 
Romanza  and  the  German  song? 

8.  What  distinction  is  here  mentioned  between  the 
Italian  Romanza  and  the  German  song? 

ADELAIDE,  BY  BEETHOVEN. 

1 .  What  is  said  of  the  "nature"  of  Beethoven? 

2.  What  emotional  characteristics  distinguish  Beetho- 
ven's greatest  works*? 

3 .  What  attitude  of  mind  with  reference  to  the  Divine 
is  manifest  in  Beethoven's  compositions? 

4.  What  is  the  emotional  character  of  Adelaide? 

5.  What  is  revealed  in  the  music  of  this  song? 

6.  In  what  respects  is  Adelaide  different  from  most 
other  love  songs? 

7 .  What  is  the  character  of  the  first  movement  of  the 
song? 

8.  Describe  the  second  movement. 

9 .  What  elements  have  received  the  highest  valuation 
in  the  qualitative  analysis? 

10.     What  is  the  valuation  of  the  text? 


STUDIES  IN  MUSICAL  HISTORY.  79 

PALM  BRANCHES,  BY  FAURK. 

1 .  Of  what  national  school  of  song  is  "Palm  Branches ' ' 
a  type.'' 

2.  Describe  the  Chanson. 

3.  What  is  the  character  of  the  "song  proper,"  as 
created  by  Gounod,  Faure  and  other  French  writers? 

4.  What  combination  of  qualities  render  these  songs 
so  effective  for  the  concert  room  and  church? 

5.  Why  are  they   sometimes   objectionable   for   the 
latter  purpose? 

6.  Upon  what  is  Faure's  Palm  Branches    founded, 
and  what  is  its  rank  among  songs  of  its  kind? 

7.  What  is  the  character  of  the  melody  and  accom- 
paniment in  this  work? 

8.  To  what  is  the  peculiar  strength  of  the  melody  of 
this  song  attributable? 

9 .  Describe  the  manner  in  which  this  effect  is  secured . 
10.     What  quality  is  rated  highest  in  the  scale  of  valu- 
ation? 


80 


STUD/ES  IN  MUSICAL  HISTORY, 


MISCELLANEOUS. 

TYPICAL  MUSICAL  FORMS. 

1.  Define  the  term   "form"   in  its   application   to 
music? 

2.  What  is  the  most  important  principle  of   form 
and  in  what  way  is  it  manifested  in  music? 

3.  What  is  the  order  of  dependency   between  the 
period,  the  motive  and  the  phrase? 

4.  What  is  said  of  the  order  and  manner  of  this  re- 
pitition? 

5.  Symmetry  has  reference  to  what? 

6.  What  is  the  relation  of  contrast  to  form? 

7.  When  may  art  be  said  to  enter  into  form? 

8.  From  what  roots  have  all  musical  forms  been  de- 
rived? 

0.     What  has  the  last  named  kind  of  musical  struc- 
ture l)een  called  and  what  have  grown  out  of  it? 

10.  What  has  the  former — the  lyric  people's  soni>- — 
produced? 

11.  Into  what  complex  forms  do  these  t-n  radical 
types  uni'e  and  in  wha^  manner? 

12.  Of  what  is  Fujjue  tin-  typ. ? 

13.  Of  what  is  the  Song-  Without,  Words  the  ty 

14.  In  what  respect  does  the  No<-imn»>  differ  !.<>!:,  '..he 
Sonj;  Without  Words? 

15.  Of  what  is  the  Fantasia  the  type? 

16.  What  is  said  of  the  Sonata  in  comparison  wills 
other  musical  forms? 

17.  What  is  a  "character"  piece? 

18.  What  vocal  forms  are  mentioned  :is  importan'? 


STUDIES  iy  MUSICAL  HISTORT.  81 

FANTASIE. 

1 .  Define  the  term  fantasie. 

2.  What  does  the  German  term  "phantasie'  .signify3 

3.  Define  "fantasie"  in  its  application  to  music. 

4.  What  is  the  meaning  of  "potpourri?" 

5.  Since  when  has  the  word  fantasie  been  in  use  and 
what  was  its  meaning  in  music? 

6.  What  is  the  character  of  Bach's  Fantasies? 

7.  To  what  form  did  the  fantasie  approximate  dur- 
ing the  Beethoven  period? 

8.  For  what  purpose  was   it  sometimes  applied   to 
sonatas? 

9.  What  composers  have  written  fantasies  witli  but 
little  variation  from  the  sonata  form? 

10.  What  is  the  character  of  many   pieces  of  Schu- 
mann's to  which  this  term  is  applied? 

1 1 .  What  do  the  fantasies  of  one  generation  prophesy 
of  the  next  following? 

12.  What  objectionable  tendency  results  from  a  too 
close  adherence  to  the  style  of  accepted  models? 

13.  How  does  this   ultimately    effect   music   and    in 
what  way  is  freedom  of  style  again  restored? 

14.  What  masters  have  created  the  greatest  works  of 
this  name? 

lf>.     For  what  does  the  fantasie  stand? 

16.     When  does  the  fantasie  exceed  its   proper   limit? 


QUALITIES  OF  ETUDES. 

1.  What  is  the  meaning  of  the  word  "Etude?" 

2.  What  is  the  object  of  mechanical  studies? 

3.  Mention  instances  of  higher  kinds  of  studies. 


82  STUDIES  IN  MUSICAL  HISTORY. 

4.  Mention    certain    studies    equally    interesting   as 
music  Mini  exercises? 

5.  What,  is  said  of  Schumann's  compositions? 

6.  What  is  their  value  for  practice? 

7.  What  studies  are  at  the  other  extreme  in  the  scale 
of  value? 

8.  Why  arc  the  etudes  of  Czerny,   Koehler,  Schmitt 
and  others  of  their  class  less  useful  than  exercises  which 
pretend  to  no  musical  value? 

9.  Where   do   the   studies   of   Loeschhorn,  Cramer, 
Gurlitt  and  lieinecke  belong  in  the  scale  of  merit? 


NOCTURNE. 

1.  From  what  was  the  word  Nocturne  derived? 

2.  What  is  a  nocturne? 

3.  What  is  said  of  the  form  of  the  nocturne? 

4.  What  is  the   usual  character  of  the  melodies  of 
which  the  nocturne  is  composed? 

5.  What   class   of   emotions   find   expression  in  the 
nocturne? 

6.  Who  was  the  inventor  of  the  nocturne? 

7.  What  is  the  general  character  of  the   Field  noc- 
turnes? 

8.  In  what   respects   do    Chopia's  nocturnes  surpass 
those  of  Field? 

9.  Characterize  the  four  Chopin  nocturnes  mentioned 
in  the  words  of  the  text? 

10.  What  picture  is  represented  in  the  last  part  of  the 
text?  (Note:  When  desirable,  students  may  be  required 
to  quote  this  in  the  language  of  the  text.) 


STUDIES  /.V  ML7S/CAL  HISTOKt'.  83 

SONG    \VITIK  )TT    WORDS. 

1.  To  whom  do  we  owe  the  suggestive  title  Song.-> 
Without  Words? 

2.  Are  the  Songs  Without  Words  of  Mendelssohn 
to  be  regarded  as  classical  or  romantic  compositions? 

3.  To  what  school  of  musical  art  does  Mendelssohn 
really  belong,  the  classic  or  romantic? 

4.  What  is   the   distinctive   mark   of  the   classical 
school? 

5.  What  is  the  characteristic  mark  of  the  romantic 
fachool? 

6 .  Give  the  views  of  the  romanticist  in  the  language 
of  the  test. 

7.  To  what  school  was  Mendelssohn  allied  by  nature 
•*nd  education? 

8.  What  is  said  of  Mendelssohn 's  treatment  of  form? 

9 .  Towards  what  style  of  art  did  Mendelssohn's  feel- 
ings incline  him? 

1 0 .  What  did  he  seek  to  express  in  his  Songs  Without 
Words? 

11.  Why  is  the  title  which  Mendelssohn  applied  t<> 
these  pieces  so  appropriate? 

12.  In  what  sense  are  these  compositions  romantic? 

13.  In  what  sense  are  the}'  classic? 

14.  What  influence  have  the  charming  compositions 
and  the  title  applied  to  them  exercised  upon  musical  art  ? 


TE  DEI'M 

1.  Who   composed    the   original   music   of  the  "Te 
Deum?" 

2.  What  is  said  of  this  Ambrosian  melody? 

3 .  When  and  in  what  manner  was  it  introduced  into 
England? 

7 


84  STUDIES  IN  MUSICAL  HISTOR1. 

4.  What  early  composers  used  the  Ambrosian  melody 
as  the  basis  of  their  settings  of  this  text. 

5.  Among  the  later  settings  of  the  Te  Deum,  which 
are  most  celebrated? 

6.  Who  was  first  to  employ   orchestral  accompani- 
ment in  his  setting  of  this  hymn? 

7.  What  is  said  of  Purcell's  Te  Deum? 

8.  What  is  said  of  Handel's  "Utecht"  Te  Deum? 

9.  Describe  Berlioz's  Te  Deum. 

10.     What  is  the  character  of  more  recent  settings  of 
this  hymn! 


THE  HISTORY  OF  MUSIC.     REASONS  WHY  IT  SHOULD  BE 
STUDIED. 

1 .  How  can  we  correctly  estimate  the  creations  of 
the  human  mind? 

2.  Why  has  music  been  called  the  most  subjective 
of  all  arts? 

3.  Why  is  a  knowledge  of  the  origin  and  growth  of 
tone  forms  indispensable? 

4.  To  wh:it  does  the  study  of  the  history  of  music 
form  a  reliable  guide,  and  why? 

5 .  What  does  it  teach  us  about  the  birth  and  growth 
of  music? 

6.  What  does  it  show  about  the  folk-song  and  later 
music? 

7.  What  do  we  learn   from  it  about  notation,  har- 
mony and  melody? 

8.  What  do  we  learn  from  it  about  instrumental 
music? 

9.  Besides  instruction  what  does  it  afford? 

10.  What  is  a  musical  education  without  it? 

11 .  Why  is  it  peculiarly  advantageous  to  the  musician? 


STUDIES  IN  MUSICAL  HISTORY.  85 

THE  MADRIGAL. 

1.  Give  the  etymology  of  the  word  madrigal. 

2.  To  what  was  the  term  madrigal  first  applied? 

3.  What  was  the  character  of  the  songs  of  a  later 
period  bearing  this  title? 

4.  What  was  the  source  of  the  music  and  poetr}'  of 
the  madrigal? 

5.  To  what    is   due   its  development  as  a  distinct 
musical  form? 

6 .  What  school  .of  musical  art  contributed  most  to 
its  development  and  what  prominent  master  is  mentioned? 

7 .  In  its  earlier  phases  what  form  of  vocal  art  did 
the  madrigal  resemble? 

8.  What  was  the  character  of  the  Motet? 

9.  What  was  the  course  of  the  development  of  the 
madrigal  and  in  what  did  it  culminate? 

10.  Who    perfected  the   form  of  the  madrigal  and 
transplanted  it  in  Italy? 

11.  What  prominent  Italian  master  composed  in  this 
form? 

12.  When  was  the  madrigal  introduced  into  England? 

13.  What  conditions  rendered   England  so  favorable 
to  the  development  of  the  madrigal  at  that  time? 

14 .  What  English  composers  contributed  to  this  form 
and  with  what  result? 

15.  What  related  part  songs  are  mentioned? 

16.  What  is  a  Round: 

17.  What  is  the  distinction   between  the  Round  and 
the  Catch? 

18.  Of  what  vocal  form  peculiar    to    England  were 
these  the  immediate  precursors  and  when  did  it  originate? 


86  STUDIES  IN  MUSICAL  HISTORY. 

THE  CLASSICAL  IN  MUSIC. 

1.  From  what  source  was  the  word  "classic''  de- 
rived, and  what  its  original  and  present  meaning? 

2 .  What  tests  must  a  work  of  art  undergo  before  it 
may  be  declared  a  classic? 

3 .  To  what  must  a  work  be  adapted  to  attain  the 
rank  of  a  classic? 

4.  What  are  the  elements  of  classic  nferit? 

5.  What  is  "style"  in  art? 

6.  What  is  "truth"  in  art? 

7.  Why  may  each  generation  have  its  own  standard 
of  classic  excellence,  rejecting  those  of  former  periods? 

8.  To  what  class  are  the  best  of  earlier  works  con- 
signed when  superseded  by  those   of  a   more   advanced 
period? 

9.  What  productions  mark  the  beginning  and  close 
of  the  Classical  Period  in  music? 

10.  What  school  of  musical  art  followed  the  Classical? 

11.  What  works  produced   between   1600  and  1827 
may  properly  be  regarded  as  classic? 

1 2 .  What  elements  of  merit  must  the  compositions  of 
earlier  periods  possess  to  retain  a  place  among  modern 
works? 

13.  What  composers  have  produced  the  best  classical 
works? 

14.  What  aesthetic  elements  do  the  best  of  the  works 
contain  in  equal  proportion? 

15.  What  has  Hegel,  the  great  esthetician  predicated 
as  the  measure  of  the  classic? 

16.  To  what  class  of  music  does  the  term  classical 
properly  belong? 

17.  What  are  the  forms  of  the  classic  in  music? 


STUDIES  IN  MUSICAL  HISTORY.  87 

18.  Which  of  these  forms  did  Beethoven  develop  to 
the  highest  degree  of  classic  beauty  and  excellence? 

19.  What  misuse  of  the  term  classic  is  referred  to  in 
the  text? 


REQUIEM. 

1.  To  what  is  the  name  "Requiem"  applied? 

2.  From  what  is  its  name  derived  and  what  is  its 
English  translation? 

3 .  By  what  is  this  anthem  followed? 

4.  To  what  music  are  these  pieces  assigned? 

5.  What  is  said  of  these  old  melodies? 

6.  What  is  the  first  important  setting  referred  to  in 
the  text? 

7.  What  movements  did  Palestrina's  setting  con- 
tain? 

8.  Why  is  it  supposed  Palestrina  omitted  from  his 
setting  the  remaining  three  movements? 

9.  What  is  said  of  Mozart's  Requiem.    (See  Manual 
of  Music,  revised  edition,  page  146.) 

10.  What  is  said  of  Cherubmi? 

11.  Describe  Brahm's  "German  Requiem." 

12.  What  is  said  of  Berlioz's  setting  of  this  text? 

13.  What  is  said  of  Verdi's  Requiem? 

14.  What  part  of  the  text  affords  the  best  opportu- 
nity for  effective  musical  treatment? 

15 .  In  what  respect  do  modern  composers  differ  from 
the  old  masters  in  their  treatment  of  this  text? 


s:<  STUDIES  IN  MUSICAL  HISTORY, 

THE  FUGUE. 

1 .  What  is  the  rank  and  character  of  the  fugue  as  a 
form  of  musical  art? 

2.  From  what  was  the  fugue  derived? 

3.  What  element  does  it  possess  not  contained  in  the 
canon? 

4 .  How  many  voices  are  required  to  give  expression 
to  the  fugal  form? 

5.  What  is  the  first  requisite  of  the  fugue? 

6.  What  must  be  the  theme  or  subject? 

7.  How  is  the  subject  announced  and   how  treated? 

8.  What  are  these  successive  representations  called 
collectively  and  what  is  their  relative  importance  in  the 
composition? 

9.  In  what  key  does  the  first  voice  sing  the  subject? 

10.  How  is  the  subject  treated  by  the  responding 
voice  and  what  is  it  there  called? 

1 1 .  What  is  the  melodic  material  furnished  by  the 
voice,  while  the  "  answer  "  or  repitition  is  being  sung  by 
the  second  voice  called? 

12.  Must  this  melody,  which  follows  the  subject,  al- 
ways be  the  same  or  may  it  be  varied  at  each  repetition 
of  the  subject? 

13.  What  subjects  are  permitted  to  sing,  either  the 
subject  or  the  answer  in  course  of  the  exposition? 

14.  What  is  the  chief  feature  of  the  exposition? 

15.  What  appears  at  the  close  of  the  exposition? 

16.  How  is  the  "interlude"  treated  and  of  what  ma- 
terials is  it  composed? 

17.  How  does  the  interlude  close  and  what  then  ap- 
pears? 

18.  How  are  the  exposition  and  interlude  relatively 
treated  during  the  continuance  of  the  piece? 


,V7YY>//s.V  IN  MUSICAL  HISTORY.  89 

19.  In  what  key  musk  the  last  exposition  appear? 

20 .  How  is  the  last  exposition  treated  when  the  nature 
of  the  subject  permits? 

21.  What  is  meant  by  Stretto? 

22.  May  these  repetitions  be  appropriately  used  be- 
fore the  final  exposition? 

23.  Is  it  preferable  to  introduce  such  combinations 
during  the  progress  of  the  piece  or  reserve  them  for  the 
last? 

24.  What  is  sometimes  added  at  the  close? 


LITERARY  INTERPRETATION  IN  MUSICAL  AESTHETICS. 

1.  What  phase   of   musical   art  did  the  eighteenth 
century  originate  and  bring  to  perfection? 

2.  What  phase  did  the  nineteenth  century  develop? 

3.  What  composers  are  mentioned  as  the  supreme 
types  of  the  "Classical"  in  masic? 

4.  What  composers  are  distinguished  for  the  "real- 
ism" of  their  music? 

5.  What   three   composers   are   here   assigned   the 
highest  rank  and  in  what  province  of  musical  art  did 
each  excel? 

6.  What  is  "programme  music?" 

7 .  What  is  the  character  and  value  of  the  literature 
which   has   attended   the    development   of   programme 
music? 

8.  To  what  extent  may  these  "literary  spurs"  be 
useful? 

9 .  What  extreme  is  to  be  avoided  in  the  acceptance 
of  these  literary  paraphrases? 


90  STUD  IKS  IN  MUSICAL 


10.  In  what  composer  do  the  musical  tendencies  of 
the  eighteenth  and  nineteenth  centuries  unite? 

11.  What    work   of   Mendelssohn's  is  referred  to  as 
being  too  obviously  realistic  to  require  mention? 

1  2  .     What  is  suggested  by  the  initial  motive  of  six 
notes  in  Mendelssohn's  overture  to  the  Hebrides? 

13.  Under  what  circumstances  was  this  work  written? 

14.  Finally,   what   is    the    value   of    these  "literary 
aids"  to  musical  interpretation? 


DEFINITION  OF  THE  "ROMANTIC." 

1       What  in  general  is  meant  by   the  term  romantic 
and  to  what  is  it  commonly  applied? 

2.  What  is  the  meaning  of  romantic  in  its  applica- 
tion to  music? 

3.  When  did  the  romantic  spirit  begin  to  be  promi- 
nent in  music  and  of  what  was  it  a  part? 

4.  Name  the  first  distinctly  romantic  composition 
and  give  the  date  of  its  publication? 

5.  What  earlier  instances  are  mentioned  in  which 
"picture  painting"  was  attempted  in  music. 

6.  Who  was  the  first  of  great    romantic  writers; 
when  and  in  which  of  his  works  is  the  romantic  spirit  most 
prominent? 

7.  What  composer  followed  Schubert  and  for  what 
instrument  were  his  works  mostly  written. 

8.  What  work  of  Mendelssohn  marks  a  great  ad- 
vance in  musical  representation? 

9.  What  has  been  the  character  in  this  respect  of 
most  works  written  since  Schumann  and  Mendelssohn? 

10.     What  is  tho  character  of  some  of  Liszt's  com- 


STUDIES  fAT  MUSICAL  HISTORY.  91 


positions  in  comparison  with  those  of  other  com  posers  of 
the  romantic  school? 

11.  What    modern   composers  mentioned   have   con- 
formed to  the  classic  model? 

12.  What    are  the  characteristic   forms  of  romantic 
music? 

13.  Why  is    the   Song    Without    Words  necessarily 
romantic? 

1  \.     Why  is  the  Fantasia  a  characteristic  form  of  the 
romantic? 

1").      What  is  sensationalism  in  music? 
16.     What  is  realism  in  music? 


THE  MASS. 

1.  What  is  meant  by  "Mass?" 

2.  How   many  texts  are  included  in  the  Mass  and 
how  are  they  frequently  treated? 

3.  Mention  the  first  text  referred  to  and  the  names 
included  in  it . 

4.  Mention  the  second  text  and  all  it  includes. 

5.  Mention  the  third  text  and  what  it  includes. 

6.  Mention  the  fourth  and  fifth  texts  with  all  they 
include 

7.  What   is   often   added    to   the  parts  named  and 
where  does  this  addition  occur? 

8.  What  is  said  of  the  original  music  of  the  Mass? 

9.  When  was  the  Ambrosian  and  Gregorian  music 
supplanted  and  what  then  formed  the  cantus  fennus? 

10.  What  was  still  later  taken  as  foundation  for  the 
music  of  the  Mass  and  what  example  of  this  style  is 
mentioned? 


92  STUDIES  IN  MUSICAL  HISTORT. 

11.  What  is  said  of  Palestrina's  "Missa  Papae  Mar- 
cell  : 

12.  When  and  by  whom,  after  Palestrina,  was  the 
next  great  work  of  this  class  written? 

13.  In  what  respects  does  Bach's  Mass  in  B  minor 
differ  from  Paiestrina's  "Missa  Papae  Marcelli?" 

14.  What  is  said  of  Mozart's  Masses? 

15.  After  Bach's  great  work  what  was  the  next  im- 
portant contribution  to  this  department  of  music? 

16.  What  is  said  of  Beethoven's  "Missa  Solemnis?" 

17.  What  more  recent  settings  are  mentioned  and 
what  is  their  character? 


THE  PRINCIPLES  OF  THE  BEAUTIFUL. 

1 .  To  what  sense  does  every  work  of  art  fi  rst  appeal , 
and  with  what  general  result? 

2.  Upon  what  does  a  work  of  art  first  depend  for  its 
popularity,  and  power  to  reach  the  mind? 

3.  Beyond  the  mere  sensuous  impressions  produced 
by  a  work  of  art,  what  other  pleasurable  manifestation 
does  it  afford? 

4.  In  what  particular  is  this  skill  or  power  of  exe- 
cution revealed  in  painting? 

5.  What  manifestations  of  skill  in  music  produce 
pleasureable  impressions? 

6.  What  kind  of  pleasure  does  the  evidence  of  skill 
afford,  and  what  does  it  require  of  the  observer? 

7.  What  other  impressions  than  those  referred  to  is 
a  work  of  musical  art  capable  of  producing? 

8.  Do  all  observers  experience  an  equal  degree  of 
emotional  effect  from  a  work  of  art? 


STUDIES  IN  MUSICAL  HISTORY.  93 

9 .     What  class  of  observers  does  a  work  of  art  appeal 
to  most  strongly? 

10.  Upon  what  is  the  realization  of  the  deepest  emo- 
tional  effects  of  art  dependent? 

1 1 .  What  is  the  range  of  emotional  feeling  afforded 
by  a  musical  vork? 

12.  According  to  this  classification,  what  is  the  first 
and  lowest  degree  of  pleasure  derivable  from  art? 

1-T.  After  the  "pleasing  in  sensation,"  what  is  the 
m-xt.  higher  plane  of  esthetic  enjoyment? 

1  1.  What  is  the  third  and  highest  degree  of  pleasure 
afforded  by  art.  and  what  is  its  range? 

1").  May  all  music  be  classified  in  accordance  with 
these  principles? 

1(5.  What  masters  have  written  the  most  spiritual  of 
all  nmsir: 


KEY  TO  I'UONUNCI  \T1OV 

1 .  Give  the  Italian  sound  of  a. 

2.  What  two  sounds  has  the  Italian  e? 
:?.  Give  the  Italian  sound  of  i. 

4 .  What  two  sounds  has  the  letter  j  in  Italian 

f> .  Give  the  two  sounds  of  the  Italian  o. 

6.  What  is  the  Italian  sound  of  u? 

7.  What  sound  has  the  vowel  a  in  German5 

8.  What  is  the  sound  of  ai  in  German? 

9.  What  sounds  has  ae  or  ii  in  German? 

10.  What  sound  has  aeu  or  aii  in  German? 

11.  What  sound  has  au  in  German? 

12.  What  sounds  has  e  in  German? 

13.  What  sound  has  ei  in  German? 

14.  What  sound  has  eu  in  German? 


94  STUDIES  /A*  MUSICAL  Hf STORY. 

15.  What  sound  has  i  in  German? 

16.  What  sound  has  ie  in  German? 

17.  What  sounds  has  oin  German? 

18.  What  sound  has  oe  or  0  in  German? 
1!>.  What  sound  has  u  in  German? 

20.  What  sound  has  ue  or  ii  in  German? 

21 .  What  sounds  has  a  in  French? 

22.  What  sound  has  ai  in  French? 
28.  What  sounds  has  au  in  French? 
21 .  What  sounds  has  e  in  French? 
2.r>.  What  sound  has  ei  in  French? 

26.  What  sound  has  eu  in  French? 

27.  What  sounds  has  i  in  French? 

28.  What  sound  has  ia  in  French? 

29.  What  sounds  has  ie  in  French? 
:?0.  What  sounds  has  o  in  French? 

31.  What  sound  has  u  in  French  and  how  indicated? 

32.  Explain  the  use  of  y  in  French? 


FOR  A   .\ OR MAL  COURSE.      95 


QUESTIONS    FOR    A    NORMAL    COURSE    OF 
TWELVE  LESSONS. 

DEFINITION    OF   MUSIC.— CLASS   A,   ANTIQUITIES   OF   MUSIC. 

1 .  What  is  the  meaning  and  what  the  derivation  of 
the  word  music? 

2.  What  are  the  elements  of  a  perfect  music? 

3.  What  have  been  the  actuating  forces  of  musical 
progress? 

4.  How  do  you  account  for   the   reverence  in  which 
the  art  of  music  has  been  held  by  the  Aryan  race  in  all 
ages? 

ANCIENT  EGYPTIAN    MUSIC. 

1 .  What  is  the  source  of  our  knowledge  concerning 
t'.ie  music  of  the  ancient  Egyptians? 

2.  What  were  the  instruments  most  in  use? 

3.  What  evidences  of  progress  are  mentioned? 

4.  What  are  the  more  usual  combinations  of  players 
for  band  purposes? 

ANCIENT   HINDOO  MUSIC. 

1.  Wherein  consists  the  importance  of  the  history  of 
Hindoo  music? 

2.  Describe  the  course  through  which   the  primeval 
instrument  of  the  violin  family  came  into  Europe. 

3.  What  was  the  characteristic  instrument  of  Hindoo 
music? 

4.  What  is  said  of  their  theory,  and  of  the  state  of 
the  art  of  music  among  them? 


96        QUESTIONS  FOR  A  NORMAL  COURSE. 
ANCIENT  GREEK  MUSIC. 

1.  Describe  the  general   course  of  music  among  the 
mirk-lit  Greeks. 

2.  Who  were  the  principal  composers  of  the  classical 
<lrnm:i,  and  what  modern  form  of  art  did  it  resemble? 

.').  Who  were  the  principal  musical  theorists  among 
the  Greeks? 

4 .  Who  were  the  first  observers  of  musical  phenomena 
by  ear  among  the  Greek  writers? 

EARLY  CHRISTIAN   MUSIC. 

1 .  What  is  supposed  to  have  been   the  character  of 
the  music  of  the  early  Christians? 

2 .  Wherein  was  Christianity  important  in  the  develop- 
ment of  the  art  of  music? 

3.  How  did  Christianity  operate  in  elevating  the  art 
of  music? 

4.  .What  is  said  of  the  connection  of  Christianity  and 
music  from  its  beginning  until  now? 

ST.   AMBROS. 

1 .  What  was  the  character  of  the  singing  of  the  early 
Christians? 

2.  What   cause   is  mentioned   as    having  first   con- 
tributed to  a  larger  official  recognition  of  music? 

3.  What  is  said  of  the  poetical  and  musical  gifts  of 
St.  Ambros? 

4 .  What  was  the  nature  of  his  musical  reform  upon 
Us  technical  side;  and  what  upon  the  spiritual? 

ST.  GREGORY,   THE  GREAT. 

1.  What    he-came   of   St.  Ambros'    reform    after  his 
death? 

2.  Who  arose  next  to  uphold  the  standard  of  pure 
church  music? 


FOR  A  NORMAL  COURSE.       97 


3.  What  was  the  nature  of  St.  Gregor}-'s  addition  to 
the  musical  theory  of  St.  Ambros? 

3.  Describe  the  scales  introduced  by  St.  Ambros  and 
Gregory,  and  tell  which  of  our  modern  church  tunes 
have  been  derived  from  them. 

HUCBALD. 

1.  Who  was   llucbald,  and   wherein  is  he  interesting 
in  musical  history? 

2.  Describe  his  notation,  and  state  what  he  meant  by 
the  letters  II  and  S. 

3.  What  was  Diaphony? 

4.  What  was  Organum? 

CLASS  B,  ANTIQUITIES   Oi'    MUSIC.     MKDLKVAL   MUSIC. 

1  .     Who  was  Guido  of  Arezzo? 

2.  Describe  the  Neumes  and  the   progress  towards 
notes  and  a  staff. 

3.  What  was  the  musical  notation  of  Guido? 

4.  What  progress  does  Guido  mark  in  the  direction 
of  harmonic  discrimination? 

FRANCO  OF  COLOGNE  AND  FRANCO  OF  PARIS. 

1.  Wh?t  is  the  ground  of  the  celebrity  of  Franco  of 
Cologne? 

2.  Describe  his  notation. 

3.  With  what  department  of   music  is  -the   name  of 
Franco  of  Paris  associated  ? 

4.  What  classifications  did  he  introduce  in  harmony? 

DUFAY    AND  EARLY  POLYPHONY. 

1.  Who  were  the  leading  masters  of  the  four  great 
epochs  of  the  musical  history  of  the  Netherlands? 

2.  Give  the  personal  history  of  Dufay. 


IKS        ^('KST/OIVS  FOR  A  NORMAL  COURSE, 

3.  What  are  the  contrapuntal  features  of  his  compo- 
sitions that  have  come  down  to  us? 

1 .  What  is  the  limitation  of  his  music  upon  the 
aesthetic  side? 

OKEGHEM,  DESPRES,  WILLAERT  AND  GOMBERT. 

1.  Who   was  Okeghem,  and    what  the    style  of  his 
niusi  •: 

2.  Who  was  Josquin  des  Pros,  and  what  is  said  of  his 
music? 

3.  Who  was   Willaert,  and    what   the   nature  of  his 
musical  work? 

4.  What  is  said  of  Nicolas  Gombert? 

MARTIN    LUTHEK  AND    THE  PROTESTANT   CHORALE. 

1 .  In  what  sense  might  Luther  be  taken  as  a  forerun- 
ner of  the  romantic? 

2.  How  did  Luther  become  influential  in  the  musical 
development  of  Germany? 

3.  What  is  a  chorale,  and  will  you    mention  a  cele- 
brated specimen  composed  by  Luther? 

4.  What  is  said  of  the  influence  of  the  chorale  beyond 
the  bounds  of  the  Protestant  church  and  in  later  times? 

MEDIAEVAL  SECULAR   MUSIC. 
(GENERAL  CARD  OF  THIS  CLASS.) 

1 .  What  is  meant  by  Folks  Song? 

2.  What  is  said  of  the  older  Folks  Song? 

3.  What  of  the  Folks  Song  in  later  times? 

4.  Why  have  we  so  few  examples  of  the  older  Folks 
Song,  and  where  in  modern  music  can  we  trace  their 
influence? 


STUDIES  IN  MUSICAL  HISTORT,  9<J 

ORLANDO   LASSUS. 

1 .  What  objectionable  tendency  of  style  peculiar  to 
the  earlier  masters  of  the  Netherland  school  did  Lassus 
completely  overcome? 

2.  What  is  the  rank  and  character  of  his  works? 

3.  What  position  does  he  occupy  in  relation  to  the 
Netherland  masters? 

4.  What  two  principles  was  he  the  first  to  recognize 
and  employ? 

I'AI.KSTUINA. 

1 .  Of  what  important  school  was  Palestrina  the  first 
and  greatest  composer? 

2.  How  did  Palestrina  rank  as  a  composer  of  church 
music? 

3.  For  what  qualities  are  his  works  remarkable? 

4.  What  was  the  condition  of  church  music  at  the 
time  the  Mass  of  Pope  Marcellus  was  written,  and  what 
did  it  demonstrate? 


100 


STUDIES  JiV  MUSICAL  IIlSTOltT. 


CLASS   C.     OPERA. 

CHAKACTKRIZATION   OF  OPERA. 

1.  Define  and  characterize  the  Opera. 

2.  What  purpose  is  served  by  Kecitative,  Aria  and 
Chorus  respectively? 

3 .  Describe  the  prominent  differences  between  French , 
German  and  Italian  Opera. 

4.  Describe  the  writer's  ideal  of  opera. 

DEFINITION    OF  QUALITIES  OF  OPERA. 

1.  State  and  define  the  qualities  of  the  opera  text. 

2.  State  and  define  the  qualities  of  the  music  of  the 
opera. 

3.  State  and  define  the  qualities  of  the  orchestration 
of  opera- 

4.  What  is  meant  by  scenic  demands? 

EURYD1CE,  IJY   PKRI 

1.  What  is  Peri's  chief  claim  to  distinction  among 
musical  composers? 

2.  What  names  are  mentioned  in   connection   with 
Peri's  in  this  study,  and  what  is  the  relation  of  each  to 
the  events  described? 

3.  What  is  the  musical  character  of  this  work? 

4 .  What  is  said  of  the  stage  accessories  in  these  early 
operas? 

TAXCREDI,  BY  HONTEVERDE. 

1.  For  what  is  Monteverde  most  celebrated  in  musi- 
cal annals? 

2.  Describe    the    character    and    influence    of    his 
"Orfeo." 


STUDIKS  7.V  MCS/CAL  HISTORY.  101 

3.  What  is  the  character  and  importance  of  ''Tail- 
ored i?" 

1.     To  what  position   is  Monteverde  assigned   in  the 
history  of  music? 

AUMKUK,  BY    lA'LLI. 

1 .  What  is  Lulli's  position  as  a  composer  of  operas? 

2.  What  were  Lulli's  chief  characteristics? 
.'•».      From  what  was  French  opera  evolved? 

4.  What  is  said  of  his  operas  in  general,  and  of  Ar- 
mede  in  particular? 

TKODOKA.   HV    SCAULATTI. 

1 .  What  is  said  of  Scarlatti's  rank  and  fecundity  as  a 
musical  composer? 

2.  What   were   Scarlatti's  qualifications,  and  what  is 
said  of  the  revival  of  his  works? 

3.  What  did  Scarlatti  contribute  to  the  improvement 
of  the  opera? 

4.  What    is    said    of    many    of    his  librettos  and  the 
present  importance  of  his  works? 

ORI'IIKTS.  I'.Y   CLUCK. 

1.  In  what  respects  does   this   opera  differ   from   all 
earlier  and  contemporary  works? 

2.  What  did  (iluck's   ideal   contemplate,  and   from 
what  observations  were  his  ideas  derived? 

3.  What  is  G luck's  position  among  opera  writers  of 
his  time,  and  what  was  the  nature  of  his  reform? 

4.  What  is  the  character  of  this  work? 

DON  CIOVAXXI.  I;Y  MOZART. 

What  is  said  of  the  libretto  and  subject  of  this 
opera? 

2.     To  what  beauties   of   this   work  is   its   popularity 
chiefly  due5 


KI2  A'  TUDIES  IN  MUSIC  A  L  HfS  TO  It  T. 

3.  Of  the  dramatic  and  musical  features  of  the  work 
which  are  most  prominent? 

4.  How  may  we  account  for  the  disparity  between 
the  musical  and  dramatic  features  of  the  work? 

FIDELIO,  BY  BEETHOVEN. 

1.  How  many  operas  did   Beethoven  compose,  and. 
upon  what  is  the  present  work  founded? 

2.  Describe  the  plot  of  the  opera. 

3.  What   is   observed   of   the  musical  and  dramatic 
quality  of  this  work? 

4.  How  may  we  account  for  the  fact  that  the  music 
is  superior  to  the  dramatic  features  of  the  opera? 

DER  FREISCHUETZ,  BY  WEBER. 

1 .  What  is  the  relative  importance  of  this  work  among 
operas? 

2.  What  is  the  story  of  the  opera? 

3.  Give  a  general  description  of  the  incidents  of  the 
plot. 

4.  What  is  said  of  the  orchestration,  and  what  phase 
of  character  was  first  presented  in  this  opera? 

WILLIAM  TELL,  BY  ROSSINI. 

1.  Where  was  Rossini  born,  and  where  educated,  and 
what  are  his  principal  operas? 

2.  Where  is  the  action  of  the  present  work  laid? 

3 .  What  strong  national  characterization  is  mentioned 
in  the  text? 

4.  What  are  the  most  notable  beauties  of  this  opera? 

THE  HUGUENOTS,  BY  MEYERBEER. 

1 .  Upon  what  is  the  plot  of  this  opera  founded? 

2.  Describe  the  first  act  of  the  opera. 

3.  Describe  the  fourth  act. 

4 .  What  is  said  of  the  score  of  the  opera? 


STUDIES  7.V  MUSICAL  HISTORY.  103 

lA'CIA   DI    LAMMEKMOOK,  BY   DONIZETTI. 

1.  How   many   operas   did  Donizetti  compose,  and 
what  is  said  of  his  characteristics  as  a  musical  writer? 

2.  What  is  the  rank  and  character  of  this  opera? 

3 .  What  is  said  of  the  challenge  scene? 

4.  Give  other  interesting  particulars  of  the  opera. 

FAUST,  BY   GOUNOD. 

1 .  Describe  the  first  and  second  acts  of  the  opera. 

2.  Describe  the  third  act. 

3.  Describe  the  fourth  and  fifth  acts. 

4.  Upon  what  does  the  opera  rest  for  its  success? 

AID  A,  BY    VERDI. 

1.  Mention  four  of  Verdi's  most  important  operas 

2.  Upon  what  was  the  text  of  Aida  founded,  and 
what  were  the  circumstances  of  its  first  production? 

3.  What  characteristics  of  the  work  are  mentioned? 

4.  What  is  the  implied  difference  between  this  and 
the  composer's  earlier  works? 

TRISTAN   AND   ISOLDE,  BY   WAGNER. 

1.  What  is  the  general   character  of   this  work,  and 
what  did  the  composer  seek  to  realize  in  its  production? 

2.  What  is  the  emotional  character  of  the  work? 

3.  What  is  said  of  its  musical  structure? 

4.  What  is  said  of  the  opening  phrase? 


104  XTl'D/ES  IN  MUSICAL  JI/STOKT. 


CLASS   D.     ORATORIO. 

DEFINITION  OF  lv»r  A  LIT  IKS  AND  C1I  AK  A(  TKUI/.VTION  OF 
OKATOB1O. 

1.  Define  Oratorio  and  state  from  what  source  the 
naiiK1  \v-is  derived. 

2.  What  was  the  character  and  importance  of  Cava- 
linc's  Representation  of  the  Soul  and  the  Body? 

3 .  By  what  was  Cavaliere  's  work  followed ,  what  com- 
posers were  active  in  the  second  period  of  oratorio,  and 
what  was  the  subject  of  their  works? 

4.  Mention  the  primary  qualities  of  Oratorio? 


UEPUKSKNTATION   OP  SOUL  AND   BODY,  BY   CAVALIKKK. 

1 .  What  were  the  points  of  resemblance  and  contrast 
between  the  earliest  oratorios  and  the  earliest  operas? 

2.  Upon   what  was  the  oratorio  founded,  and  what 
were  the  characters  represented? 

3.  What  three  characters  were  represented  in  this 
oratorio,  and  how  were  they  treated? 

4.  What  was  the  object  of  this  oratorio,  and  what 
were  the  circumstances  of  its  production? 


PASSION  MUSIC,  BY   BACH. 

1 .  What  is  the  character  and  importance  of  this  ora- 
torio? 

2.  To  what  is  the  scripture  text  largely  set,  and  to 
what  characters  assigned? 

3.  What  is  expressed  in  the  chorus,  and  with  what 
\9  the  text  interspersed? 

4.  Give  a  further  description  of  the  work. 


STUDIES  IN  MUSICAL  HfSTORT.  105 

MKSSIAH.BY   HANDEL. 

1 .  What  is  the  rank  and  character  of  this  oratorio? 

2 .  Describe  the  first  part,  mentioning  the  vocal  num- 
bers which  it  contains. 

3.  Describe  the  second  part,  giving  its  vocal  numbers. 

4.  Describe  the  last  part,  and  give  a  further  charac- 
terization of  the  work . 

CREATION,  BY  HAYDN. 

1 .  What  is  the  most  striking  characteristic  of  Haydn 's 
Creation? 

2.  What  are  the  principal  choruses,  and  what  is  said 
of  their  character? 

3.  What  distinction  is  implied  between  this  and  many 
of  the  most  celebrated  works  of  the  present? 

4.  What  is  said  of  the  technical  knowledge  and  skill 
and  the  dramatic  quality  displayed  in  this  oratorio? 

MOUNT  OF  OLIVES,  BY  BEETHOVEN. 

1 .  What  is  said  of  the  quality  of  the  libretto  and  the 
style  of  the  music  in  this  work? 

2.  What  solo  voices  are  introduced,  and  what  are  the 
principal  numbers  mentioned? 

3 .  What  special  point  of  merit  does  the  work  contain? 

4.  Give  further  interesting  particulars  of  the  work. 

ELIJAH,  BY  MENDELSSOHN, 

1 .  On  what  occasion,  and  under  whose  direction ,  was 
this  work  first  produced? 

2 .  What  are  the  scenes  treated  in  this  oratorio? 

3.  What  are  the  most  beautiful  solos  in  the  work? 

4.  What  are  the  greatest  choruses,  and  what  thrilling 
effect  is  described? 


10f)  STUDIES  IN  MUSICAL  HfSTORT. 

LAST  JUDGMENT,  BY  SPOHll. 

1 .  What  numbers  are  introduced  in  the  first  part  of 
this  work,  and  what  is  their  character? 

2 .  With  what  does  the  second  part  open? 

3 .  Mention  the  principal  numbers  introduced  in  the 
second  part. 

4.  What  is  the  character  of  the  music  of  this  comDO- 
sition? 


STUDIES  IN  MUSICAL  HISTORY.  107 


CLASS   E.     SYMPHONY. 

DEFINITION    OF  QUALITIES   AND   CHARACTERIZATION   OF 
SYMPHONY. 

1 .  Describe  the  conditions  of  the  origin  and  devel- 
opment of  the  Symphony. 

2.  Define  the  form  of  the  Symphony,  and  state  in 
what  respects  it  differs  from  the  Sonata. 

3.  With  whom  did  the  symphony  attain  its  purest 
form,  and  what  composers  represent  the  romantic  type? 

4.  Define  the  qualities  of  symphony. 


"  OXFORD,"  BY  HAYDN. 

1.  What  did  Haydn  do  for  the  sonata  form? 

2.  What  did  he  contribute  to  instrumentation? 

3.  Describe   briefly  the  various  movements   of  the 
work . 

4.  What  is  the  general  character  of  this  symphony, 
and  what  peculiarities  of  Haydn's  music  does  it  illus- 
trate? 


JUPITER,  BY  MOZART. 

1.  What  is  Mozart's  relation  to  the  development  of 
musical  form? 

2.  What  advantages  had  Mozart  as  a  composer  of 
instrumental  music  which  Haydn  had  not? 

3 .  What  stage  in  the  development  of  the  S3rmphony 
form  does  the  present  work  represent? 

4.  In  what  particulars  does  this  work  rank  with  the 
best? 


1  0  H  S  TUDIBS  IN  M(JS  TCA  L 


FIFTH  IN  C  MINOR,  BY  BEETHOVEN. 

1.  How  long  is  Beethoven  supposed  to  have  been 
engaged  upon  this  work? 

2.  What  is  the  leading  motive  of  this  symphony  and 
how  was  it  characterized  by  Beethoven? 

3.  What  peculiarities  of  the  work  are  referred  to  by 
Sir  George  Grove? 

4.  Characterize  the  different  movements  of  the  work 
in  the  language  of  the  text. 


SCOTCH  A  MINOR,  BY  MENDELSSOHN. 

1 .  From  what  is  Mendelssohn  supposed  to  have  de- 
rived the  impressions  which  characterize  this  work? 

2 .  What  characteristics  of  Mendelssohn  are  referred 
to  in  the  text? 

3.  Describe  the  second  movement  of  the  work. 

4.  Describe  the  adagio  and  finale. 


O  MINOR,  BY  SCHUBERT. 

1 .  What  characteristics  of  Schubert  are  mentioned  in 
the  text? 

2.  Describe  the  introduction  to  the  first  movement 
of  the  present  work? 

3.  How  is  the  opening  melody  afterward  treated? 

4.  What  is  the  character  of  the  allegro  and  of  the 
three  remaining  movements? 


LES  PRELUDES,  BY  LISZT. 

1 .     In  what  respect  does  the  symphonic  poem  differ 
from  the  regular  symphony? 


STUDIES   f.V  MTSICAL   HISTORY.  109 


2       What  inspired  Liszt  to  the  com  position  of  this  work? 

3 .  Characterize  the  work  in  the  language  of  Lamartine . 

4.  How   has   Liszt  realized  these  ''incidents  of  the 
soul?" 


DANCE  OF  DEATH,  BY  SAIKT-SAKN-. 

1 .  What  is  said  of  the  scene  described  in  this  work? 

2.  Describe  the  scene  portrayed  to  the  introduction 
of  the  "dance  motive." 

3 .  Describe  the  scene  following  the  introduction  of 
the  "dance  motive." 

4.  What   has   Saint-Saens    said    concerning    "pro- 
gramme music?" 


HO  STUDIES  IN  MUSICAL  HISTORY. 


CLASS  F.     CONCERTO. 

DEFINITION  OF  QUALITIES  AND  CHARACTERIZATION  OF 
CONCERTO. 

1 .  What  is  a  Concerto? 

2.  What  is  the  form  of  the  Concerto? 

3.  From  what  class  of  music  was  the  Concerto  de- 
rived and  by  whom  were  the  earliest  concertos  written? 

4.  Upon  what  does  the  excellence  of  a  concerto  de- 
pend . 

EMPEROR  E  FLAT,  BY  BEETHOVEN. 

1 .  How  many  concertos  did  Beethoven  write,  and 
what  is  the  character  of  the  first? 

2.  What  work  immediately  preceded  the  Concerto  in 
E  Hat? 

3.  What  is  the  character  of  the  present  work? 

4.  Mention  other  interesting  particulars  concerning 
this  concerto. 

E  MINOR,  BY  PAGANINI. 

1 .  Why  is  the  present  work  especially  interesting? 

2.  What  is  meant  by  "natural  harmonics?" 

3.  What  was  the  object  of  using  a  single  string  for 
"long  scales  and  arpeggios?" 

4.  What  questionable  advantage  did  Paganini  take  of 
the  players  who  accompanied  him? 

G  MINOR,  BY  SAINT-SAEN8. 

1 .  Describe  the  opening  movement  of  this  work. 

2 .  With  what  work  is  the  present  concerto  compared , 
and  in  what  respects  are  they  similar? 

3.  Describe  the  last  movement. 

4.  What  is  said  of  the  popularity  of  the  work  as  a 
whole? 


STUDIES  IN  MUSICAL  HISTOR1.  \\\ 

E  MINOU,  BY  CHOl'IN. 

1 .  What  is  said  of  Chopin's  style? 

2.  Describe  the  first  movement  of  the  present  work. 

3.  Describe  the  Romance. 

4.  Describe  the  closing   Rondo ,  and  mention  other 
interesting  particulars  concerning  the  work. 

G  MINOR,  BY   MENDELSSOHN. 

1 .  What   characteristics   of   Mendelssohn   does    this 
work  illustrate? 

2.  What  is  said  of  Romanticism  in  this  study? 

3.  What  is  said  of  the  Classical  in  this  study? 

4.  Of  what  is  the  present  work  a  revelation? 

A  MINOR,  BY  SCHUMAN. 

1.  For  what  was  the  first  movement  originally  in- 
tended and  what  was  the  occasion   of   the  earliest  per- 
formance of  this  work? 

2.  What   is   stated   of    Schumann    and    his   works 
generally? 

3.  Give  a  general  description  of  this  concerto. 

4.  What  is  said  of  the  difficulties  attending  the  per- 
formance of  the  work? 

E  PLAT  MAJOR,  BY  LISZT. 

1 .  To  what  facts  is  the   originality   of   the   present 
work  attributed  and  what  is  the  character  of  the  orches- 
tral treatment? 

2.  To  what  period  of  the  composer's  life  does  the 
present  work  belong? 

3.  Describe  that  part  of  the  work  which  precedes  the 
Scherzo. 

Describe  the  Scherzo  and  add  other  interesting  particu- 
lars of  the  work? 


112  STUDIES  IN  MUSICAL  HISTORY. 


CLASS  G.     SONATA. 

DEFINITION     OF    QUALITIES     AND     CHARACTERIZATION      OB- 
SONATA 

1 .  Characterize  the  Sonata  as  a  form  of  art. 

2.  What  were  the  sources  of  its  development  and 
what  did  it  derive  from  each? 

3.  What  was  the  original   and    what    is    the  present 
signification  of  the  word  "sonata?" 

1 .     Mention  the  names  of  those  who  have  been  promi- 
nently identified  with  the  history  of  this  form. 


F  MINOR,  BY  C.  P.  E.  BACH. 

1 .  What  is  C.  P.  PL  Bach's  relation  to  the  history  of 
the  Sonata? 

2.  What  is  the  general  character  of  the  present  work? 

3.  Of  what  two  great  composers  is  the  style  of  this 
work  suggestive,  and  what  characteristics  of  each  does  it 
reflect? 

4.  What  is  said  of  the  emotional  quality  of  the  work? 


E  FLAT,  BY  HAYDN. 

1.  What  is  Haydn's  relation  to  the  history  of  the 
Sonata? 

2.  What  service  is  attributed  to  C.  P.  E.  Bach  in 
this  study? 

3.  What  final  step  did  Haydn  accomplish  which  con- 
tributed  materially  to  musical  development  and  rendered 
his  works  so  popular? 

4 .  What  other  characteristics  of  Haydn 's  are  referred 
to  in  this  study? 


STUDIES  ftf  MUSICAL  HISTORY.  \  13 

C  MINOR,  BY  MOZART. 

1 .  What  is  the  rank  and  character  of  the  present  work? 

2.  Describe  the  opening  Fantasie. 

3.  Of  how   many  movements  is  the  Sonata  proper 
com  posed,  and  what  is  said  of  the  Adagio? 

1.     What  is  said  of  the  opening  Fantasie,  and  of  Mo- 
/:!i  I 's  use  of  the  Tonic  Triad  and  the  Dominant. Seventh? 


APPASSIONATA,  I'.V    HKKTIU  >VKN. 

1.  What  is  the  rank  and   emotional  character  of  this 
Sonata: 

2.  Describe  the  first  movement. 

3.  What  is  said  of  the  lyric  element  in  the  key  of  A 
Flat? 

4.  Describe  the  andante  and  finale. 


A   FLAT,  I'.V    WKIJKK. 

1 .  What  important  position  does  Weber  sustain  with 
reference  to  the  Classical  and  Romantic  schools  of  music? 

2.  What  is  the  general  character  of  this  work? 

3  Describe  the  three  movements  referred  to  in  the 
text. 

1 .  Characterize  the  work  by  quoting  the  language  of 
Ambros. 

A  MINOR,  BY  SCHUBERT. 

1 .  Describe  the  surroundings  amid  which  this  work 
was  written. 

2.  What  is  the  character  of  Schubert's  genius  as  a 
composer? 

3.  What  is  the  character  of  his  sonatas? 

4.  Describe  this  sonata. 


1  1  I  STVDfES  /N  MUSICAL  HISTORY. 

G  MISOK,  BY  SCHUMANN. 

1.  What   is  Schumann's  rank    in  musical   art,  and 
u-hat  characteristics  arc  referral  to  in  the  text? 

2.  What  is  the  character  of  the  present  work  and 
what  innovation  does  it  represent? 

3.  What  is  said  of  the  three  movements  mentioned  in 
the  text? 

4.  What  points  of  contrast  between  the  works  of 
Schumann  and  Beethoven  are  referred  to  in  the  text? 


.s  Tl  'DIES  IN  MUSICAL  HISTORY.  \  15 


CLASS   H.     CHAMBER  MUSIC. 

DEFINITION  OF  QUALITIES  AND  CHARACTERIZATION  OF 
CHAMBER  MUSIC. 

1 .  What  does  the  term  chamber  music  naturally  im- 
ply and  for  what  class  of  players  is  it  written? 

'2.  Wherein  does  chamber  music  differ  from  concerto 
music? 

3.  What  names  are  applied  to  chamber   pieces  and 
what  is  the  importance  of  the  piano  when  employed? 

4.  What  composers  have  produced  the  most  beauti- 
ful chamber  music  and  what  is  said  of  each? 

E  FLAT  QUARTET,  BY  BEETHOVEN. 

1 .  What  is  the  importance  of  the  string  quartet,  what 
composers  are  mentioned  and  what  is  said  of  them? 

2.  What  is  meant  by  Beethoven's   "third  period," 
and  what  is  said  of  his  later  works? 

3.  What  mental  habits  mark   the  closing   years  of 
Beethoven's  life  and  how  did  they  affect  his  manner  of 
composing? 

1 .     Describe  the  present  work? 

QUARTET  IN  D  MINOR,  BY  SCHUBERT. 

1 .  Describe  the  poem  and   song    upon   which  this 
quartet  is  founded. 

2.  Describe  the  first  movement  of  the  work. 

3 .  Describe  the  second  movement  and  state  what  fol- 
lows. 

4.  Jn  what  particular  is  the  work  especially  interest- 
ing? 


116          5  TUDIES  IN  MUSICAL  HIS  TOR  Y. 

QUAKTKT    IN   K  KI.A'I  ,  IJY  SCIIfM  A>;>. 

1.  What  is  the  rank  of  this  quartet;  when  and  under 
what  auspices  was  it  first  produced? 

2.  Describe  the  first  movement  of  the  work. 

3.  Describe  the  second  movement,  the  scherzo  and 

the  finale. 

4.  What  characteristics  of  Schumann  are  illustrated 

in  this  work? 


TRIO  B  FLAT  MAJOR,  BY  HUUINSTKIN. 

1.  What  in    general  is   said   of    Rubinstein    and  his 
characteristics  as  :i  composer? 

2.  Give  a  general  description  of  the  present  work. 

3.  What  is  said  of  the  adagio,  the  scherzo   and   tin- 
finale? 

4.  What  defects  are  mentioned  in  the  text    and   with 

what  qualifications? 

QUARTET  IN  C  MINOR,  I5Y  UKAIIM8. 

1.  In   what   respect    does    Brahm'd    style  resemble 
Bach's  and  lieethoven's 

2 .  What  is  the  character  of  the   presen  t  work  and 
upon  what  plane  must  we  seek  for  its  real  power? 

3.  Characterize  the  music  of  Bach.  Beethoven   and 
Brahms? 

4.  Characterize  this  work  in  the  language  of  the  quo- 
tation contained  in  the  text. 


QUINTKT,  BY  8AINT-SAENS. 

1.     In  what   respects   is   Saint-Saens   related   to  the 
French  and  German  schools? 


STf'DfES  S.Y  MCSfCAL  HISTORT.  H7 

•_*.  What  is  the  rank  of  this  quintet  and  for  what  is 
it  remarkable: 

o.     What  special  beauties  are  refered  to  in  the  text? 

4.  What  is  said  of  its  relation  to  the  classic  and 
romantic? 


O  M  vRTET,  BY  GR 

I.     What  is  said  of  Griefs'  ancestry  and  education? 

~1.  What  characteristic  does  he  possess  in  common 
with  Chopin? 

•> .     What  does  his  music  suggest  or  re-- 

4 .  Describe  the  present  work  and  state  wherein  Grieg 
is  allied  to  the  romantic  school. 


118  5  TUDIES  IN  MUSIC  A  L  HIS  TO  It  T. 

CLASS  I.      SONG. 

DKKIN1TION  OK  DUALITIES  AND  CHARACTERIZATION  OF  SONG. 

1 .  What  is  meant  by  song  and  what  does  the  term 
imply? 

2.  What  is  a  ballad  and  what  class  of  songs  does  the 
term  imply?     Give  examples 

3.  Describe    the    German    song    and    the    French 
"Chanson.'' 

4 .  AVhat  is  an  Aria? 

ADELAIDE,  BY   BEETHOVEN. 

1.  What  is  said  in  this  study  of  Beethoven's  nature? 

2.  How  does  the  present  work  illustrate  these  char- 
acteristics? 

3.  Describe  the  first  movement  of  the  song 

4.  Describe  the  second  movement. 

ERL  KING,  BY  SCHUBERT. 

1 .  What  is  the  Erl  King  in  Scandinavian  and  Ger- 
man mythology? 

2.  Describe  the  poem  and  the  song. 

3.  Mention  the  circumstances  attending  the  produc- 
tion of  the  Erl  King. 

4.  What  other  important  facts  are  given  in  the  text? 

NON  E  VER,  BY  MATTEL 

1 .  Of  what  class  of  songs  is  Non  e  Ver  an  illustration 
and  what  is  the  character  of  the  melody? 

2.  To  what  is  its  effect  chiefly  due. 

3.  What  is  said  of  this  class  of  songs? 

4t    Give  ft  general  description  of  this  work, 


STUDIES  IN  MUSICAL  HISTORY.  H9 

HE,  THE  NOBLEST,  BY   SCHUMANN. 

1 .  In  what  respects  did  Schumann  surpass  Schubert 
in  the  composition  of  the  poetic  and  descriptive  song? 

2.  What  is  the  importance  of  the  pianoforte  in  Schu- 
mann's songs? 

3.  What  did  Schumann  seek  to  express  in  his  songs, 
and  what  considerations  did   he  disregard  to  attain  this 
end? 

4.  To  what  event  in  Schumann's  life  is  this  song  re- 
lated, and  what  is  its  character? 

PALM  BRANCHES,  BY  FAURE. 

1.  Describe  the  two  principal  types  of  French  song. 

2.  What  qualities  render  songs  like  this  effective  for 
the  concert  room ,  and  why  are  they  less  appropriate  for 
the  church? 

3.  Describe  Palm  Branches. 

4.  In  what  respect  is  the  melody  of  this  work  one  of 
the  most  remarkable? 

HOME,  SWEET   HOME,  BY  BISHOP. 

1 .  What  docs  this  song  most  truly  represent? 

2.  What  do  we  know  of  the  history  of  the  song? 

3.  What  differences  between  the  English  and  Scotish 
folk-songs  and  the  German  folk-songs  are  referred  to  in 
the  text? 

4.  How  do  songs  like  this  differ  from  the  Italian,  and 
what  is  their  rank  from  an  aesthetic  standpoint? 

LOST  CHORD,  BY  SULLIVAN. 

1 .  In  what  respects  does  this  song  rank  with  the  best? 

2.  Ity  whom  was  the  poem  Lost  Chord  written,  and 
what  imaginary  incident  does  it  describe? 

3 .  What  is  said  of  the  music  of  the  song? 

4.  Between  what  two  classes  of  songs  does  this  work 
stand,  and  why? 


120  STUDIES  IN  MUSICAL  HISTORY. 


MISCELLANEOUS. 

THE  CLASSICAL  IN  MUSIC. 

1.  Define  the  term  Classic,  and  state  the  conditions 
upon  which  a  musical  work  may  be  so  designated . 

2.  Name  and  define  the  elements  of  classic  merit. 

3.  Who  were  the  prominent  classical  composers,  and 
what  is  said  of  the  best  of  their  works? 

4.  AVhat  are  the  forms  of  the  classic,  and  what  misuse 
of  the  term  is  mentioned? 


LITERARY  INTERPRETATION. 

1 .  What  is  said  in  this  study  of  the  eighteenth  and 
nineteenth  centuries,  and  what  composers  represent  the 
extreme  tendencies  in  music  during  this  time? 

2.  What  is  "programme  music?" 

3.  Under  what  limitations  may  literary  aids  to  musi- 
cal interpretation  be  helpful? 

4.  What  eminent  composer  has  written  works  of  un- 
mistakable  realism;  what  are  they,  and  what  do  they 
suggest? 


THE  HISTORY  OF  MUSIC. 

1 .  How  may  we  correctly  estimate  the  creations  of 
the  human  mind ,  and  why  is  music  its  most  perfect  mirror? 

2.  To  what  is  the  study  of  musical  history  a  reliable 
guide,  and  what  does  it  teach? 


STUDIES  IN  MUSICAL  HISTORY.  121 

3 .  Besides  the  instruction  afforded   by   the  study  of 
the  history  of  music,  what  other  benefits  does  it  confer? 

4.  Why  is  a  musical  education  imperfect  without  a 
knowledge  of  musical  history? 


TYPICAL  MUSICAL  FORMS. 

1.  What  is  meant  by  "form"  in  music? 

2.  Define  the  principle  of  Unity  in  musical  form. 

3.  Define  Symmetry  and  Contrast. 

4.  From  what  two  roots  are  all  musical   forms  de- 
rived?    Describe  them. 


FUGUE. 

1 .  Define  the  Fugue. 

2.  Define  the  "Subject,"  "Exposition,"  "Answer" 
and  "Counter  Subject"  of  the  fugue, 

3.  Define  the  "Interlude"  of  the  fugue. 

4.  Explain  the  limitations  and  usages  governing  the 
last  exposition. 


FANTASIA. 

1.  Give  the  general  definition  of  the  term  fantasy 
and  explain  the   meaning  of  "Fantasia"  in  its  applica- 
tion to  music. 

2 .  What  was  the  original  use  of  the  term  fantasia  and 
what  has  been  its  signification  in  later  periods. 

3.  What  relation  has  the   fantasia  in  one  generation 
to  the  generation  next  following. 

4 .  What  variety  of  works  may  be  classed  under  this 
term  and  what  «ire  its  limitations? 


122  STUDIES  IN  MUSICAL  HISTORY. 

urUJTIES  OF  ETUDES. 

1.  What  is  the  meaning  of  the  word  Etude  and  what 
class  of  musical  com  positions  is  included  under  this  term? 

2.  Mention  works  which   are  of  equal  value  from  a 
musical  and  from  a  mechanical  standpoint. 

3.  AVhat  class  of  etudes  occupies  the  lowest  place  in 
the  scale  of  value?     Mention  composers. 

4.  What  other  class  of  etudes  is  mentioned?     Name 
representative  composers. 

NOCTURME. 

1.  Give  the  derivation  and  explain  the  character  of 
the  composition  designated  by  the  word  Nocturne. 

2.  Who  invented  the  nocturne  and  what  is  the  char- 
acter of  his  works  in  this  form? 

3.  Who  surpassed  Field  in  this  department  of  musical 
composition  and  wherein  did  he  excel? 

4.  Characterize  some  of  the  nocturnes  of  Chopin . 

THE  MADRIGAL. 

1 .  Explain  the  signification  of  the  word  Madrigal. 

2.  Give  an  account  of  the  origin  and  early  history  of 
the  madrigal. 

3.  What  Netherland  and  Italian  composers  produced 
works  in  this  form   and   when   was   it   introduced  into 
England? 

4.  Mention  some  of  its  related  Part-songs  and  de- 
scribe them. 

THE  MASS. 

1 .  What  is  meant  by  "Mass?" 

2.  Give  the  names  of  the  texts  and  sub-texts  of  the 
mass. 


STUDIES  S.V  MUSICAL  HISTOKT.  123 

3.  What  is  said  of  the  origin  an<l  enrly  history  of  the 
music  of  the  mass? 

4.  What  composers  have  written   the  greatest  works 
in  this  form  and  what  are  they? 


REQUIEM. 

1 .  Describe  the  Requiem. 

2.  Give  title  and  description   of   Palestrina's  great 
Requiem 

3.  What  is  said  of  Mozart's  Requiem? 

4.  What   other   important   works    in    this  form  are 
mentioned? 

TE  DEUM 

1 .  Give  the  origin ,  character  and  early  history  of  the 
Te  Deum . 

2.  Describe  Purcell's  Te  Deum. 

3.  What  is  said  of  Handel's  "Utrecht"  Te  Deum? 

4.  Describe  Berlioz's  Te  Deum. 


WITHOUT   WORDS. 

1 .  State  the  points  of  distinction  between   the  Clas- 
sical and  Romantic  schools,  as  defined  in  this  study. 

2.  What  was  Mendelssohn's  position  in  musical  art 
with  reference  to  these  two  schools? 

3 .  What  did  Mendelssohn  seek  to  express  in  his  Songs 
Without  Words,  and  are  they  classical  or   are  they  ro- 
mantic? 

4.  What  influence  have  these  works  exercised  upon 
later  compositions? 


124  STUDIES  IN  MUSICAL  HISTORY. 

KEY  TO  PRONUNCIATION. 

1.  Give  the  sounds  of  the  Italian  vowels. 

2.  Give  sounds  of  the  separate  vowels  in  German. 

3.  When  two  vowels  occur  together  in  the  same  syl- 
lable in  a  German  word,  which  should  be  sounded? 

4.  Give  sounds  of  the  separate  vowels  in  French. 

THE  PRINCIPLES  OF  THE   BEAUTIFUL. 

1 .  To  what  does  a  work  of  art  first  appeal,  what  im- 
pressions is  it  capable  of  producing,  and  upon  what  does 
it  depend  for  its  claim  to  popularity? 

2.  Beyond  the  agreeable  impressions  of  seeing  or  hear- 
ing, what  other  kind  of  pleasure  does  a  work  of  art  afford? 

3.  What  is  the  highest  pleasure  derivable  from  art? 

4.  Explain  the  three  planes  of  aesthetic  pleasure  af- 
forded by  art. 

DEFINITION  OF  THE  ROMANTIC. 

1.  Define  Romantic  in  its  general  sense,  and  also  in 
its  application  to  music 

2.  When  did  the  romantic  spirit  begin  to  be  promi- 
nent in  music,  and  what  was  the  first  distinctly  romantic 
composition? 

3.  What  three  great  masters  of  the  Romantic  school 
followed  Von  Weber,  and  what  is  said  of  their  music? 

4 .  What  are  the  characteristic  forms  of  the  romantic . 
and  what  is  meant  by  "sensationalism"  and  "realism"  in 
music? 


INSTRUCTIONS.  125 


INSTRUCTIONS. 


SECTION  I.     CLASSIFICATION  OF  THE  CARDS, 

There  are  three  kinds  of  cards  in  the  Studies,  which 
follow  slightly  different  rules  for  acquisition  and  com- 
bining. 

1.  SPECIFIC  CARDS,  bearing  a  class  letter,  "A,"  "B," 
"C,"  etc.,  each  one  devoted  to  some  particular  composer, 
work,  or  period.     With  four  exceptions  all  specific  cards 
bear  qualitative  anatyses  of  the  subjects  to  which  they 
are  devoted.      The  exceptions  are  in  Class  A,  "Early 
Christian    Music;"    and  in  Class  B,  "Martin  Luther," 
"Okeghem,"  and  "Palestrina."     The  qualitative  valua- 
tions were  omitted  from  these  in  order  to  gain  space  for 
important  historical  matter,  and  also  because  the  state  of 
music  in  the  period  to  which  they  refer  is  shown  on  other 
cards  of  the  same  period.     These  cards  are  treated  in  the 
game  precisely  the  same  as  the  other  specific  cards,  ex- 
cepting that  it  is  not  possible  to  augment  the  valuation 
of  books  by  agreement  among  them.      (See  Sec.  III). 
Specific  cards  combine   with   others   of  the   same  class, 
with  general  cards  of  the  same  class,  or  with  unclassified 
general  cards. 

2.  CLASSIFIED  GENERAL  CARDS,  bearing  class  letters 
"A,"  "B,"  "C,"  "D,"   etc.,  and  without  qualitative 


1 2  6  ftfS  TR  UC  TIONS. 


analyses.  These  combine  only  with  specific  cards  of  the 
same  class  or  with  unclassified  general  cards.  The  gen- 
eral card  of  Class  A  is  "Definition  of  Music,"  and  in 
Class  B  "Mediaeval  Secular  Music." 

3.  UNCLASSIFIED  GENERAL  CARDS,  not  bearing  the 
class  letters  at  the  top.  These  combine  with  each  other 
or  with  cards  of  either  of  the  two  other  classes. 

SECTION  II.     HOW  BOOKS  ARE  COMPOSED. 

1 .  Two  specific  cards  of  the  same  class  and  two  gen- 
eral cards,  which  must  be  either  of  the  same  class  as  the 
specific  cards  or  else  unclassified.     As  there  is  only  one 
class,  (C),  in  which  two  general  cards  occur,  the  combi- 
nation of  two  specific  cards  with  two  general  cards  of  the 
same  class  is  possible  only  in  this  department,  namely, 
Opera. 

2.  Three  specific  cards  of   the  same  class,  and  one 
general  card,  which  must  be  of  the   same  class  as  the 
specific  cards  with  which  it  is  associated ,  or  else  an  un- 
classified general  card. 

3.  Four  specific  cards  of  the  same  class. 

4.  In  grade  15,  and  during  the  continuation  of  this 
course,  four  unclassified  general  cards  may  be  combined 
into  a  book  having  a  value  of  8. 

This  rule  applies  also  to  Grades  9  to  1 2  of  the  Normal 
Course. 

5.  No  other  combination  is  admitted  as  composing  a 
book.    Every  book,  except  those  under  rule  4,  must 
contain  at  least  two  specific  cards. 

G.  As  the  exercise  proceeds  a  book  may  be  formed  at 
any  time  by  any  one  who  may  secure  the  requisite  cards. 
It  is  discretionary,  however,  with  those  participating  to 
form  their  books  when  they  choose.  Since  all  books  are 


AVS  TR  UC  TIONS .  127 

not  equally  valuable,  it  is  usually  better  to  defer  making 
up  a  book,  even  though  there  may  be  a  sufficient  number 
of  cards  of  a  class  in  the  player's  possession  to  render  it 
possible,  until  he  shall  have  secured  certain  cards  which, 
when  put  together,  will  give  the  book  the  highest  value 
attainable.  This  introduces  an  element  of  enterprise 
into  the  game,  since  by  retaining  the  cards  he  incurs  the 
danger  of  having  them  called  from  him .  (See  Sec.  Ill .) 
AVhen  a  book  is  formed,  the  possessor,  when  discarding 
it  from  his  hand,  must  announce  the  subjects  of  the  cards 
of  which  it  is  composed.  Special  attention  should  In- 
given  to  this  announcement,  as  otherwise  the  participants 
will  incur  the  disadvantage  of  calling  for  cards  already 
disposed  of. 

The  player  will  do  well  in  making  up  books  before  the 
end  of  the  game,  to  take  care  and  retain  in  his  hand  at 
least  one  specific  card  of  every  class,  since  without  the 
aid  of  the  list  of  titles  at  the  top  of  these  cards  he  will 
often  be  unable  to  recall  the  names  of  the  cards  he  might 
ask  for. 

SECTION  III.  VALUE  OF  THE  BOOKS. 
Inasmuch  as  the  game  turns  upon  the  points  acquired 
by  adding  together  the  value  of  the  different  books  that 
each  player  may  be  able  io  make  up  during  the  progress 
of  the  exercise,  when  the  acquisition  of  cards  ceases, 
(see  Sec  IV) ,  the  following  principles  of  valuation  are 
important. 

1 .  Any  book  counts  1 . 

2.  This    valuation  may  be  increased    in    two  ways: 
1st  by  agreements  between  the  valuations  on  the  specific 
cards,  or  2nd  by  superior  value  of  the  classified  general 
pards,  as  follows; 


1 28  INSTRUC  TIONS. 

3.  Two  specific  cards  (of  the  same  class)  agreeing  in 
one  valuation  of  quality,  adds  1  to  the  value  of  the  book . 
The  coincidence  of  two  or  more  ciphers  among  valua- 
tions is  not  counted .     The  ciphers  merely  signify  that 
the  quality  in  connection  with  which  they  occur  had  not 
yet  begun  to  appear  in  music.      Only  the  significant 
figures  are  counted  in  estimating  agreements  of  qualita- 
tive valuation . 

4.  Two  specific  cards  agreeing  in  two  valuations  adds 

2  to  the  value  of  the  book . 

5.  Two  specific  cards  agreeing  in  three  qualities  adds 

3  to  the  value  of  the  book. 

6.  And  so  on,  adding  1  for  every  agreement  of  valu- 
ation between  two  specific  cards. 

7 .  Three  specific  cards  agreeing  in  one  valuation  adds 
2  to  the  value  of  the  book . 

8.  Three  specific  cards  agreeing  in  two   valuations 
adds  4  to  the  value  of  the  book. 

9.  Three  specific  cards  agreeing  in   three  valuations 
adds  6  to  the  value  of  the  book. 

10.  And  so  on,  adding  2  for  every  element  of  agree- 
ment between  three  specific  cards  in  a  book. 

11.  Four   specific  cards  agreeing  in  one  valuation 
constitute  i  book  valued  at   10.     This  combination  is 
possible  ir  every  class  except  Class  B. 

12.  A  Classified  general  card  adds  1  to  the  value  of 
a  book . 

13.  T^o  classified  general  cards  add  2  to  the  value 
of  a  book.     Note. — This  combination  is  possible  only  in 
Class  C. 

14.  A-'ttk'  grade  15   in  the  regular  course,  and  in 
grades  9  :*>  :<2  of  the  normal  course,  any  four  unclassi- 
fied, general  cards  form  a  book,  which  is  valued  at  6. 


INSTRUCTIONS.  129 


15.     Hence  the  value  of  a  book  is  ascertained  1>- 

ing  to  the  1  in  rule  1  as  many  additional  points  as  can 
be  found  for  it  under  the  remaining  rules,  with  two  ex- 
ceptions, viz.:  1st,  when  a  book  is  composed  of  four 
specific  cards  agreeing  in  the  valuation  of  one  quality, 
(see  rule  II,  sec.  Ill),  its  total  value  is  10;  2d,  when  a 
book  is  composed  of  four  unclassified  general  cards,  (see 
rule  14.  sec.  Ill),  its  total  value  is  6. 

SECTION   IV.     HOW   TO   ACQUIRE   THE  CARDS. 

1 .  As  no  advantage  attaches  to  the  privilege  of  deal- 
ing, it  does  not  matter  which  one  of  the   participants 
first  performs  this  office.      It  may  be  determined  by  lot. 
After  reducing  the   pack   to   the    requirements   of   the 
grade,  (Sec.  V),  and  shuttling  the  cards  well,  the  dealer 
gives  each  player  in  turn  one  card  until  each  player  has 
four.     The  remainder  of  the  pack  is  placed  face  down- 
wards in  the  center  of  the  table. 

2.  All  the  players  now  inspect  their  cards,  with  a 
view  of  ascertaining  what  cards  they  can  best  employ  to 
complete  or  advance  a  book,  (Sec.  II  and  III). 

3 .  The  player  at  the  left  of  the  dealer  has  the  first 
call;  he  has  the  right  to  demand  of  any  other  player  he 
may  happen  to  select,  a  card,  of   a  class   of  which  he 
holds  representatives  in  his  hand.     In  case  he  is  unfa- 
miliar with  the  game,  he  will  find  at  the  top  of  nearly 
every  specific  card  the  titles  of  all  the  cards  in  the  class. 
This  will  serve  to  prompt  him.     In  calling  a  card  he 
must  conform  to  the  requirements  of  the  grade  as  to  the 
class   and   the   grade.     (See    Sec.  V.)     These    require- 
ments should  be  looked  up  in  the  accompanying  vol- 
ume, and  placed  where  they  can  be  readily  consulted. 
If  he  asks  for  the  card  desired,  in  the  form  required  in, 


130  INSTRUCTIONS. 


the  Grade  of  the  Exercise,  the  holder  is  obliged  to  sur- 
render it;  proper  asking  in  the  higher  grades  includes 
the  caller  answering  whatever  question  the  grade  may 
require,  after  the  player  called  has  acknowledged  that  he 
possesses  the  card .  When  the  question  is  correctly  an- 
swered, or  the  demands  of  the  lower  grades  met,  the 
card  is  surrendered.  The  caller  then  has  the  right  to 
demand  any  other  card  he  may  desire  from  the  same  or 
any  other  player,  the  card  being  surrendered  in  every 
instance  whenever  the  requirements  of  the  grade  have 
been  complied  with .  When  he  demands  a  card  which 
the  player  called  does  not  hold,  he  must  draw  the  top 
card  from  the  pack;  if  this  happens  to  be  the  card  de- 
manded from  the  last  player  called,  he  must  show  it  to 
the  participants,  (to  insure  good  faith),  whereupon  he 
has  a  right  to  call  again  from  any  player  any  other  card 
desired.  His  right  to  call  ceases  whenever  he  fails  to 
obtain  the  card  called,  either  from  the  player  or  by 
drawing  it  from  the  pack. 

4.  The  next  player  upon  the  left  then  has  the  right 
to  call,  which  he  may  exercise  upon  any  player  among 
the  participants,  irrespective   of   order   of    precedence. 
His  right  to  call  ceases  whenever  he  fails  to  obtain  the 
desired  card,  either  from  the  participant  from  whom  he 
called  it,  or  from  the  pack. 

5.  The  acquisition  of  cards  continues  until  the  pack 
is  exhausted,  whereupon  the  players  proceed  to  make  up 
whatever  combinations  of  books  they  are  able  from  the 
cards  in  their  possession .     In   doing  this  they  will  find 
considerable   latitude   for   choice,   in    pursuit   of    more 
profitable  combinations.     The  cards  remaining  in  their 
hands  uncorabined  are  discarded,    The  results  of  the 
game  are  then  computed  for  each  player  in  turn,  accord- 


fNSTRUCTIONS.  131 


ing  to  the  valuation  of  books  in  Sec.  III.  Of  these  a 
record  must  be  kept  in  a  book  provided  for  the  purpose, 
in  order  that  the  pri/.es  may  be  properly  awarded,  and 
that  the  progress  of  the  various  players  may  be  more 
accurately  measured. 

SECTION  V. 

REQUIREMENTS    OF   TIIK   1>R<><  i  UKSS1YE   GRADES. 

As  the  prime  object  of  these  studies  is  that  of  master- 
ing all  the  information  embraced  in  all  the  96  cards,  (an 
amount  of  information  equal  to  a  good-sized  volume) 
the  just  apportionment  of  this  work  among  all  the  suc- 
cessive exercises  of  the  course  becomes  important — in- 
deed indispensable  to  success.  The  rapidity  with  which 
the  class  may  advance  will  depend  very  materially  upon 
the  age  of  the  students  and  their  disposition  with  regard 
to  devoting  study  to  the  preparation  of  the  work  for  the 
next-coming  grade.  Hence  it  is  impossible  to  prescribe 
any  one  exact  course  which  ought  under  all  circtmstances 
to  be  followed.  Accordingly  we  have  devoted  no  small 
attention  tc  the  details  of  an  elaborate  course  of  over 
forty  lessons,  which  will  finally  result  in  bringing  out  all 
the  information  upon  the  entire  9  6  cards  without  render- 
ing the  various  steps  onerous  to  average  students  of 
grammar  grades  in  school.  When  the  class  consists  of 
more  advanced  mental  habits,  such  as  those  of  the  eighth 
grammar  grade  or  the  first  year  high  school,  the  course 
may  be  shortened  at  the  discretion  of  the  teacher,  by 
combining  in  a  single  meeting  the  information  here  appor- 
tioned to  two  or  more  successive  grades.  In  place  of  this, 
when  the  interest  and  seriousness  of  the  student  war- 
rants such  a  proceeding,  the  Normal  course  of  twelve 
lessons  may  befollowed.  Ohgerve  tbat  the  same  grade 
10 


132 


is  continued  throughout  the  evening  or  session  of  the 
class  in  which  it  was  begun.  As  it  only  requires  about 
fifteen  minutes  to  go  through  the  game  once,  during  the 
hour  or  hour  and  a  half  of  the  session  the  same  grade  will 
be  gone  through  with  from  five  to  six  times,  and  in  this 
way  the  information  becomes  more  and  more  familiar. 
In  advanced  stages  of  the  studies  it  will  be  optional  with 
the  teacher  to  conduct  some  of  the  later  exercises  of  the 
session  according  to  the  requirements  of  an  earlier  grade, 
for  the  purpose  of  review. 

In  both  these  courses  the  first  intention  is  that  of  making 
the  student  familiar  with  the  general  range  of  the  subjects, 
the  names  and  dates  of  the  principal  composers,  and  the 
names  of  his  principal  works  in  every  department. 
Much  is  to  be  learned  from  handling  the  cards  in  this 
way,  when  as  yet  no  information  is  required  beyond  the 
correct  pronunciation  of  titles,  names  and  the  dates  ap- 
pertaining thereto.  Through  the  mere  effort  to  acquire 
cards,  the  student  unconsciously  is  beguiled  into  know- 
ing many  things  of  general  musical  knowledge,  which  at 
the  end  of  the  proceeding  he  may  not  be  able  to  remem- 
ber having  tried  to  learn .  This  process  goes  through 
the  entire  course;  every  lesson  makes  the  player  more 
and  more  familiar  with  the  different  provinces  of  musical 
effort  covered  by  the  exercise,  and  this  while  his  main 
conscious  attention  is  devoted  to  the  specific  information 
ui)on  the  new  cards  added  latest  to  the  pack  in  use. 

Most  of  this  general  information  is  deducable  from 
the  upper  parts  of  the  cards;  but  as  it  is  not  possible  to 
obtain  a  clue  to  the  missing  unclassified  general  cards  in 
this  way,  they  are  not  called  from  one  player  to  another 
until  after  the  first  fifteen  grades,  by  which  time  the 
players  will  have  become  familiar  with  most  of  them 


INS  TR  UC  7  IONS.  133 

through  frequent  seeing.  Every  exercise  is  to  be  con- 
ducted strictly  according  to  the  following  requirements, 
specific  to  the  progressive  grades  in  which  the  exercise 
is  conducted. 

Grade  1.  The  first  eight  grades  are  played  with 
a  part  of  a  pack  only,  in  order  to  render  the  stu- 
dent sooner  familiar  with  the  information.  Begin  by 
discarding  from  the  pack  all  the  cards  of  classes  E,  F,G 
and  II,  and  the  unclassified  general  cards  not  hereafter 
named.  Take  all  the  cards  of  classes  A,  B,  C,  D  and  the 
unclassified  general  cards.  "  Madrigal,"  "  Mass,"  k'  Re- 
quiem," 4'  Te  Deum,"  "  Principles  of  Pronunciation," 
••Principles  of  the  Beautiful,"  'kThe  Classical  in  Music" 
and  "Definition  of  the  Romantic."  The  eight  unclassi- 
fied general  cards  are  not  called  from  one  player  to  an- 
other, but  may  be  used  in  completing  combinations  for 
books,  according  to  Sees.  II  and  III.  All  other  cards 
may  be  called  from  one  player  to  another,  according  to 
the  directions  in  8ec.  IV.  and  the  particular  restrictions 
)f  the  grade,  as  here  following: 

Requirements:  Any  card  of  classes  A,  B,  C  and  D 
must  be  surrendered  to  the  player  asking  for  it,  when 
mentioned  by  its  proper  title. 

In  making  up  books  the  players  will  need  to  consult 
Socs.  II  and  III,  in  order  to  secure  the  greatest  number 
of  credits  possible  b}'  fortunate  combinations  of  cards 
they  hold. 

Grade  2.  The  pack  remains  the  same  as  in  the  previ- 
ous grade.  There  are  no  additional  requirements,  ex- 
cept that  the  pronunciation  of  names  and  titles  used  must 
be  correct.  The  object  of  this  grade  is  to  still  further 
familiarize  the  students  with  the  general  range  of  the  in- 
formation upon  the  cards. 


134 


MS  TR  UC  TIONS. 


In  case  of  a  demand  being  made  upon  one  of  the  par- 
ticipants for  a  card  which  he  holds,  and  the  name  or  title 
being  incorrectly  pronounced,  the  card  may  be  retained 
and  not  surrendered.  If,  however,  the  player  have  the 
card  he  must  so  state,  and  also  give  the  ground  for  his 
refusal  to  surrender  it;  whereupon  the  caller  must  pro- 
ceed to  draw  from  the  pack,  exactly  as  if  the  card  had 
not  been  in  the  hand  of  the  player  called.  In  case  of  a 
dispute  as  to  the  accuracy  of  the  pronunciation,  it  must 
be  repeated  and  put  to  vote  of  the  entire  number  of  par- 
ticipants, the  phonetic  spelling  upon  the  cards  serving 
as  standard,  the  vote  of  a  majority  determining  the 
point  whether  the  card  demanded  should  or  should  not 
have  been  surrendered.  Contests  of  this  kind  are  edu- 
cational in  their  influence  upon  all  concerned  in  the  exer- 
cise. 

Grade  3.  The  pack  remains  as  in  the  previous  exer- 
cises. Requirements:  Classes  A  and  B;  in  demanding  a 
card  of  either  of  these  classes  the  player  must  give  also 
the  date  at  the  upper  left  hand  corner  of  the  card .  Un- 
less the  date  is  given,  the  player  need  not  surrender  the 
card. 

Classes  C  and  D;  the  name  of  composer  of  work  named 
upon  the  card  asked  for,  belonging  to  these  classes,  must 
be  given  as  well  as  the  title.  Correct  pronunciation  is 
required  here  and  every wheie  else  through  the  remain- 
ing grades.  Disputes  are  to  be  settled  by  appeal  to  the 
cards  and  a  decision  of  the  majority  playing. 

Grade  4.  The  pack  remains  as  in  the  previous  grades. 
Requirements:  Classes  A  and  B;  both  dates  must  be 
given  (upper  right  and  left  hand  corners) .  In  classes  C 
and  D  correct  pronunciation  of  titles  and  composers' 
luuiii's  of  specific  cards  called.  Disputes  to  be  settled  as 
before. 


INSTRUCTIONS.  135 

Grade  5.  By  this  time  the  players  have  become  fam- 
iliar with  the  range  of  the  cards,  the  subjects  upon  them 
and  the  principles  of  making  books,  and  therefore  the 
most  effective  manners  of  combining  the  cards  accumu- 
lated during  the  acquisition  of  cards.  It  is  now  time  to 
begin  more  formally  upon  the  solid  information  which 
the  cards  were  intended  to  convey.  Hence  the  following 
requirements: 

Classes  A  and  B.  Cards  are  surrendered  only  upon 
the  caller  being  able  to  answer  question  No.  1  assigned 
to  each  card  of  these  classes.  Cards  of  Classes  C  and  D 
will  be  surrendered  onl^y  when  the  date  and  place  of  pro- 
duction of  the  work  is  given  (except  in  the  few  instance- 
where  this  information  has  not  been  embodied  upon  the 
cards.) 

Note.  It  is  not  expected  that  the  very  words  of 
the  question  in  the  book  will  be  committed  to  memory. 
All  that  is  asked  is  that  the  caller  be  able  to  answer  any 
question  covering  the  first  point  of  information  in  the 
text  upon  the  card.  In  case  of  a  dispute  between  the 
caller  and  the  called,  the  question  must  be  restated,  the 
answer  given,  and  the  corresponding  part  of  the  text  of 
the  card  read  aloud;  a  majority  vote  of  the  participants 
will  determine  whether  the  card  shall  or  shall  not  be 
surrendered.  Should  the  player  holding  the  card  de- 
manded be  unable  to  recall  the  question ,  or  frame  another 
requiring  the  same  information  for  its  full  and  correct 
answer,  he  must  surrender  the  card. 

Grade  6.     The  pack  remains  as  before. 

Requirements  preliminary  to  surrendering  cards: 
Classes  A  and  B,  the  same  as  in  the  previous  grade. 

Classes  C  and  D:  the  date  of  birth  of  composers 
mentioned . 


136 


FNSTRUCTIONS. 


Grade  7.  The  pack  remains  the  same  as  before.  Re- 
quirements: Classes  A  and  B;  give  dates  upon  both  upper 
corners,  covering  date  of  birth  and  death  or  the  begin- 
ning and  end  of  period  to  which  the  card  is  devoted. 

Classes  C  and  D.  Dates  of  birth  and  death  of  com- 
posers. (For  example:  suppose  the  caller  demands 
"Armide,"  Lulli,  Class  C,  he  must  also  give  the  dates 
of  Lulli,  namely  1633-1687.  And  so  on  in  other  cases. 
Where  there  is  no  date  at  the  top  of  the  card,  as  in  some 
of  the  cards  of  Class  B,  the  dates  must  be  obtained  from 
the  body  of  the  text.  In  case  of  cards  devoted  to  more 
than  one  composer,  the  dates  of  the  first  will  be  suffi- 
cient in  this  grade) . 

Grade  8.  The  pack  remains  as  before.  Require- 
ments: Before  surrendering  any  card  of  Classes  A,  B, 
C  and  1),  the  player  holding  them  has  the  right  to  de- 
mand of  the  caller  that  he  answer  the  first  question  upon 
the  card  called,  when  properly  asked. 

It  will  be  remembered  that  the  first  question  was  al- 
ready applied  to  the  cards  in  classes  A  and  B  in  grades  5 
and  6,  hence  the  new  matter  in  this  grade  comprises  only 
the  first  questions  upon  the  cards  of  classes  C  and  D. 

Grade  9.  Add  to  the  pack,  previously  in  use,  all  the 
cards  of  class  E  and  two  unclassified  general  cards, 
namely,  "The  Fantasia' '  and  "The  Song  without  Words . ' ' 
These  two  latter,  like  all  the  other  unclassified  general 
cards,  are  not  yet  called  from  one  player  to  another,  but 
remain  the  property  of  the  player  acquiring  them  from 
the  pack.  Requirements:  Cards  of  class  E  are  surren- 
dered only  upon  the  caller  giving  correct  pronunciation 
and  the  names  and  dates  of  composers.  All  other  call- 
able cards  are  surrendered, as  in  grade  8,  upon  the  caller 
answering  the  first  question  relating  to  the  text. 


INSTRUCTfONS.  137 


Grade  10.  Add  the  cards  of  class  F  and  two  unclassi- 
fied general  cards,  namely,  ';  The  Fugue"  and  "The 
Etude."  Requirements:  Cards  of  class  F  are  surren- 
dered when  the  demand  is  coupled  with  the  name  and 
dates  of  the  composer  of  the  work  whose  card  is  called. 
Classes  A,  B,  C,  D  and  E,  only  upon  the  ability  of  the 
caller  to  answer  the  first  question  upon  the  text. 

Reward.  At  the  tenth  exercise  a  reward  should  be 
given  to  the  student  who  has  attained  the  greatest  number 
of  credits  during  the  entire  ten  exercises.  For  this  pur- 
pose a  record  must  be  kept  and  the  credits  of  each  suc- 
cessive exercise  added  to  the  total  already  attained.  This 
reward  should  take  the  form  of  a  valuable  musical  work, 
and  in  order  that  the  expense  of  this  part  of  the  course 
may  be  as  little  as  possible,  the  publishers  have  arranged 
to  furnish  suitable  books  for  this  purpose  (only)  at 
merely  nominal  prices. 

Grade  1 1 .  Add  to  the  pack  used  in  the  previous  grade 
all  the  cards  of  class  G  and  the  two  general  cards  "  The 
Nocturne  "  and  "  Typical  Musical  Forms." 

Requirements:  Cards  of  Class  G  are  surrendered  only 
upon  the  caller  giving  names  of  composers,  correct  pro- 
nunciations and  dates  of  birth  and  death  of  composers. 
Class  F;  the  caller  must  be  able  to  answer  the  first  ques- 
tion. All  other  cards  are  surrendered  upon  answering 
the  first  question. 

Grade  12.  Add  the  cards  of  Class  II  and  the  general 
cards,  "Literary  Interpretations  in  Musical  ./Esthetics," 
and  "Musical  History  and  Why  it  should  be  Studied." 

Requirements:  Names  and  dates  of  composers  upon 
Class  H,  and  place  and  date  of  works  to  which  the  card 
is  devoted  when  given  on  card.  First  question  of  all 
other  cards. 


138  INSTRUCTIONS. 


G  rade  1 3 .     Add  the  cards  of  Class  I . 

Requirements:  Names  and  dates  of  composers  of  works 
on  cards  of  Classes  A,  B,  C,  D,  E,  F,  G.  Class  II,  first 
question . 

Grade  14.  Requirements:  Classes  A  and  B  second 
question;  Classes  C,  D,  E,  F,  G  and  II  names  and  dates 
of  composers;  Class  I,  first  question. 

Grade  15.  In  this  grade  the  unclassified  general  cards 
are  made  subject  to  call  from  one  player  to  another,  pre- 
cisely the  same  as  the  specific  cards.  By  this  time  the 
players  ought  to  be  familiar  with  the  names  of  the  un- 
classified general  cards,  from  having  often  held  them  in 
their  hands. 

Requirements:  Unclassified  general  cards  will  be  sur 
rendered  only  upon  correctly  answering  the  first  question 
upon  their  subject  matter.  Cards  of  Classes  A,  B,  C  and 
D  mil  be  surrendered  only  upon  correctly  answering  the 
second  question  on  their  text.  Classes  E,  F,  G,  H  and 
I,  upon  correctly  giving  the  names  and  dates  of  the  com- 
posers „ 

Grade  16.  In  the  succeeding  grades,  Classes  A,  B,  C 
and  D,  and  Classes  E,  F,  G  and  H,  may  be  alternately 
omitted,  thus  avoiding  an  unnecessary  repetition  of 
questions  and  answers,  and  concentrating  the  attention 
more  exclusively  upon  the  new  requirements  which  are 
introduced  in  each  grade.  This  omission  may  not  be 
practicable  when  eight  or  more  persons  are  engaged,  and 
in  such  instances  all  the  cards  may  be  retained .  In  the 
following  grades  it  will  be  understood  that  when  the  word 
"omiY"  occurs  before  the  statement  of  requirements,  the 
classes  to  which  those  requirements  refer,  may  be  omitted. 

Requirements:  Classes  A,  B,  C  and  D,  (omit),  an- 
swer the  second  question  assigned  to  the  card  required. 


INSTRUCTIONS.  139 


Classes  E,  F,G  and  II,  answers  to  first  questions.    Class 
I,  and  unclassified  cards,  answers  to  first  questions. 

Grade  17.  Requirements:  Classes  A,  B,  C  and  D, 
(omit),  same  as  in  Grade  16.  E,  F,  G,  H  and  I,  answer 
to  second  question.  Unclassified  cards,  same  as  in  Grade 
15. 

Grade  18.  Requirements:  Classes  A,  B,  C  and  D, 
(omit) ,  same  as  in  Grade  16.  E,  F,  G  and  H,  same  as  in 
flrade  17.  I  and  unclassified  cards,  correct  answer  to 
second  question. 

Grade  19.  Requirements:  Classes  A,  B,  C  and  D, 
answer  to  third  question.  E,  F,  G  and  H,  (omit),  same 
as  in  Grade  17 .  I  and  unclassified  cards,  same  as  in  Grade 
18. 

Grade  20.  In  this  and  in  all  subsequent  grades,  both 
Classified  General  Cards,  and  Unclassified  General  Cards, 
can  only  be  exchanged  three  times  upon  the  requirements 
assigned.  After  a  card  of  the  above  mentioned  kinds, 
has  changed  hands  three  times,  it  shall  remain  in  the 
possession  of  the  plaj'er  last  acquiring  it  unless  the  cor- 
rect answer  to  the  question  next  following  the  one 
assigned  in  this  grade  be  given.  For  example, 
Characterization  of  Opera,  may  be  exchanged  but  three 
times  in  the  present  grade  upon  the  third  question,  What 
purpose  is  served  by  the  Recitative?  being  correctly 
asked  and  answered,  but  it  may  continue  to  be  exchanged 
if  the  fourth  question,  "What  is  expressed  in  the  Arias? 
be  answered.  The  continued  possession  of  the  card  de- 
pends, however,  upon  its  possessor  being  able  to  ask  the 
next  question  as  a  means  of  defense.  Should  the  card 
be  demanded  of  him  a  fourth  time,  he  must  surrender  it 
upon  the  correct  answer  to  the  third  question  being  given , 
unless  he  is  able  to  ask  the  fourth  question,  when  his  op- 


140 


MSTRUCTIONS. 


ponent  must  answer  it  correctly  before  he  can  secure  the 
curd.  The  card  may  then  change  hands  any  number 
of  times  upon  the  question  next  following  the  one  as- 
signed in  this  grade  being  properly  asked  and  correctly 
answered,  and  the  rule  applies  to  all  the  following  grades 
of  the  entire  course.  Should  participants  so  mutually 
desire  and  agree  the  above  rule  may  apply  to  all  the  cards. 

Requirements:  Classes  A,  B,  C  and  D,  (omit),  same 
as  in  Grade  19.  E,  F,  G  and  II,  ansiver  to  third  ques- 
tion. I  and  unclassified  cards,  same  as  in  Grade  18. 

Grade  21.  Requirements:  Classes  A,  B,  C  and  D, 
same  as  Grade  19.  E,  F,  G  and  H,  (omit),  same  as  in 
Grade  20.  I  and  unclassified  cards,  answer  to  third 
question . 

Grade  22.  Requirements:  Classes  A,  B,  C  and  D, 
answer  to  fourth  question.  E,  F,  G  and  H,  (omit),  same 
as  in  Grade  20.  I  and  unclassified  cards  same  as  in 
Grade  21. 

Grade  23.  Requirements:  Classes  A,  B,  C  and  D, 
(omit),  same  as  in  Grade  22.  E,  F,  G  and  H,  answer 
to  fourth  question.  I  and  unclassified  cards  same  as  in 
Grade  21. 

Grade  24.  Requirements:  Classes  A,  B,  C  and  D, 
same  as  in  Grade  22.  E,  F,  G  and  H,  (omit),  same  as 
in  Grade  23.  I  and  unclassified  cards  ansiver  to  fourth 
question. 

Grade  25.  Requirements:  Classes  A,  B,  C  and  D, 
answer  to  fifth  question.  E,  F,  G  and  H,  (omit),  same 
as  in  Grade  23.  I  and  unclassified  cards,  same  as  in 
Grade  24. 

Grade  26.  Requirements:  Classes  A,  B,  C  and  D, 
(omit),  same  as  in  Grade  25.  E,  F,  G  and  H,  answer  to 
fifth  question.  I  and  unclassified  cards,  same  as  Grade  24. 


tNSTRUCTfONS.  141 


Grade  27.  Requirements:  Classes  A,  B,  C  and  1), 
same  as  in  Grade  25.  E,  F,  G  and  II,  (omit),  same  as 
in  Grade  26.  I  and  unclassified  cards  answer  to  fifth 
question. 

Grade  28.  In  this  grade  for  the  purpose  of  testing 
the  memory  and  affording  a  slight  review  the  possessor 
of  a  card  may  ask  and  demand  an  answer  to  any  one  of 
the  first  five  questions  before  surrendering  the  card. 
The  teacher  or  players  may  introduce  this  diversion  as 
often  as  may  seem  desirable.  Requirements:  Classes  A, 
B,  C,  D,  E,  F,  G,  II,  I  and  unclassified  cards,  answer  to 
any  one  of  the  first  five  questions  which,  the  holder  of  a 
card  may  cfiose  to  present. 

Grade  29.  Requirements:  Classes  A,  B,  C  and  D, 
answer  to  sixth  question.  E,  F,  G  and  H,  (omit) ,  same  as 
in  Grade  26.1  and  unclassified  cards,  same  as  in  Grade  27 . 

Grade  30.  PRIZE  AWARDED.  Requirements:  Classes 
A,  B,  C  and  D,  (omit),  same  as  in  Grade  29.  E,  F,  G 
and  H.  answer  to  sixth  question.  I  and  unclassified  cards, 
same  as  in  Grade  27. 

Grade  31.  Requirements:  Classes  A,  B,  C  and  D. 
Same  as  in  Grade  29.  E,  F,  G  and  H  (omit),  same  as 
in  Grade  30.  I  and  unclassified  cards  answer  to  sixth 
question. 

Grade  32.  As  the  questions  assigned  to  the  different 
cards  vary  in  number,  and  as  it  is  necessary  to  retain  all 
cards  of  a  class  until  nearly  all  of  the  questions  have  been 
presented,  the  players  are  at  liberty  to  ask  any  question 
upon  a  card  ivhose  list  of  questions  has  been  exhausted. 
It  will,  therefore,  be  understood  that  when  the  grade 
requires  answers  to  the  seventh  question  of  Class  C,  or  any 
other  class,  that  it  refers  only  to  those  cards  which  have 
not  yet  been  exhausted,  while  to  secure  any  other  card 


INSTRUCTIONS. 


the  applicant  must  answer  any  question  in  the  list  which 
the  holder  may  chose  to  present. 

Requirements:  Classes  A,  B,  C  and  D,  answer  seventh 
question.  E,  F,  G  and  H,  (omit),  same  as  in  Grade  30. 
I  and  unclassified  cards,  same  as  in  Grade  31, 

Grade  33.  Requirements:  Classes  A,  B,  C  and  D, 
(omit),  same  as  in  Grade  32.  E,  F,  G  and  H,  answer 
seventh  question.  I  and  unclassified  cards,  same  as  in 
Grade  31. 

Grade  34.  It  will  be  observed  that  the  questions  upon 
several  of  the  opera  cards  are  already  exhausted .  Where 
this  is  the  case  the  holder  of  a  card  may  ask  any  question 
in  its  list  and  demand  the  correct  answer  before  surren- 
deringthe  card.  Requirements:  Classes  A,  B,C  and  D, 
same  as  in  Grade  32.  E,  F,  G  and  H,  (omit),  same  as 
in  Grade  33 .  I  and  unclassified  cards,  answer  to  seventh 
question . 

Grade  35.  Requirements:  Classes  A,  B,  C  and  D, 
ansiver  to  eighth  question.  E,  F,  G  and  H,  (omit),  same 
as  in  Grade  33.  I  and  unclassified  cards,  same  as  in 
Grade  34. 

Grade  36.  Requirements:  Classes  A,  B,  C  and  D, 
(omit),  same  as  in  Grade  35.  E,  F,  G  and  H  answer  to 
eighth  question  I  and  unclassified  cards,  same  as  in 
Grade  34. 

Grade 37.  Requirements:  Classes  A,  B,  C  and  D, 
same  as  in  Grade  35.  E,  F,  G  and  H,  (omit),  same  as 
in  Grade  36.  I  and  unclassified  cards,  answer  to  eighth 
question. 

Grade  38.  Requirements:  Classes  A,  B,  C  and  D, 
answer  to  ninth  question.  E,  F,  G  and  H,  (omit),  same 
as  in  Grade  36.  I  and  unclassified  cards,  same  as  in 
Grade  37. 


7NS  TR  UC  TIONS.  143 

Grade  39.  Requirements:  Classes  A,  B,  C  and  D, 
(omit),  same  as  in  Grade  38.  E,  F,  G  and  II  answer  to 
ninth  question.  I  and  unclassified  cards,  same  as  in 
Grade  37. 

Grade  40.  Requirements:  Classes  A,  B,  C  and  D, 
same  as  in  Grade  38.  E,  F,  G  and  H,  (omit),  same  as 
in  Grade  39.  I  and  unclassified  cards,  answer  to  ninth 
question. 

Grade  41.  Requirements:  Classes  A,  B,  C  and  D, 
ansiver  to  tenth  question.  E,  F,  G  and  H,  (omit),  same 
as  in  Grade  39.  I  and  unclassified  cards,  same  as  in 
Grade  40. 

Grade  42.  Requirements:  Classes  A,  B,  C  and  D, 
(omit),  same  as  in  Grade  41.  E,  F,  G  and  II  ansiver  to 
tenth  question.  I  and  unclassified  cards,  same  as  in  Grade 
40. 

Grade  43.  Requirements:  Classes  A,  B,  C  and  D, 
same  as  in  Grade  41.  E,  F,  G  and  H,  (omit),  same  as 
in  Grade  42.  I  and  unclassified  cards,  answer  to  tenth 
question. 

Grade  44.  As  the  lists  of  questions  upon  many  of 
the  cards  are  alread}-  exhausted  it  will  be  much  easier  to 
meet  the  requirements  which  follow  than  it  has  been  to 
meet  those  of  the  preceding  grades.  Requirements: 
Classes  A,  B,  C,  D  and  E  answer  to  eleventh  question 
when  there  is  an  eleventh  question  and  when  there  is  not 
answer  any  question  in  the  list  corresponding  to  the  card 
asked  for  which  the  holder  may  choose  to  present.  F, 
G,  H,  I  and  unclassified  cards  ansiver  to  tenth  question. 

Grade  45.  Requirements:  Classes  A,  B,  C,  D  and 
E,  same  as  in  Grade  44.  F,  G,  H,  I  and  unclassified 
cards,  answer  to  eleventh  question. 

Grade  46.     Requirements:      Classes  A,  B,  C,  D  and 


Ill 


INSTRUCTIONS. 


E,  answer  to  twelfth  question.  F,  G,  II,  I  and  unclassi- 
fied cards,  same  as  in  Grade  15. 

Grade  17.  Requirements:  Classes  A,  B,  C,  1),  and  E, 
same  as  in  Grade  4(5.  F,  G,  II,  1  and  unclassified  cards, 
answer  to  twelfth  question. 

(irade  -1H.  Requirements:  Classes  A,  B,C,  U  and  E, 
answer  to  thirteenth  question.  F,  G,  H,  I  and  unclassified 
cards,  same  as  in  Grade  47. 

Grade  49 .  Requirements:  Classes  A,  B,  C ,  D  and  E, 
same  as  in  Grade  -18.  F.  G,  II,  I  and  unclassified  cards, 
<tii*tr<>r  ('>  tliirtcenth  question. 

Grade  50.  Requirements:  Classes  A,  B,  C,  I),  E,  F, 
G,  II,  I  and  unclassified  cards,  answer  to  fourteenth 
question,  or  if  there  he  no  fourteenth  question,  then  an- 
swer to  any  question  relating  to  the  card  called. 

Grade  51.  Requirements:  Include  all  classes.  An- 
swer  to  the  fifteenth  question  when  such  occurs,  and  when 
it  doss  not,  to  any  question  in  the  list  corresponding  to 
the  card  asked  for. 

(irade  52.  Omit  all  of  the  cards  belonging  to  Classes 
C  and  H.  Requirements:  Answer  to  sixteenth  question 
upon  remaining  cards. 

Grade  53.  Requirements:  Answer  to  seventeenth 
question  upon  remaining  cards. 

Grade  54.  Omit  Class  A.  Requirements:  Answer 
to  eighteenth  question  upon  remaining  cards. 

(irade  55.  In  the  remaining  grades  it  is  desired  to 
exhaust  the  questions  yet  unanswered,  and  as  the  players 
are  priviliged  to  ask  any  question  whatsoever,  and  de- 
mand a  correct  answer  before  surrendering  the  card  to 
which  it  relates,  it  is  not  improbable  that  all  will  acquire 
the  additional  information.  Without  it  a  player  cannot 
hope  to  secure  the  cards  desired  if  an  opponent  is  able  to 
fortify  himself  by  asking  one  of  the  remaining  questions. 


INSTRUCTIONS.  145 

Requirements:  Anst'-cr  to  miy  question  which  the  posses- 
sor of  a  card  may  chouse  to  ask,  regardless  of  irhether  it 
has  already  been  used  or  not. 

Grade  56.     Requirements:     Same  as  in  Grade  55 . 

Grade  57.  Include  cards  of  all  classes  in  the  remain- 
ing grades.  Requirements:  Same  as  in  Grade  55 . 

Grade  58.     Requirements:     Same  as  in  Grade  55 . 

Grade  59.     Requirements:     Same  as  in  Grade  55 . 

Grade  60.     Requirements:     Same  as  in  Grade  55 . 

PIJIZKS  AWAHDKD. — As  suggested  in  another  place, 
where  classes  are  organized  it  will  be  found  advantageous 
to  award  prizes  at  intervals,  as  they  are  an  incentive  to 
study  and  an  appropriate  recognition  of  merit.  Should 
the  Manual  of  Music  or  Elson's  Reminiscences  of  a 
Musician's  Vacation  Abroad  be  desired  the  publishers  will 
furnish  them,  for  this  purpose  only,  at  a  special  reduction. 


146 


SUMMARY  OF  REQUIREMENTS. 


SfM.MAKY   OF    KK(>riKKMKNTS. 


PROGRESS!  YK     GliAMKS     oil     EXERCISES. 


COTJZRSIE. 


r      Classes  A,  B,  C   and   D. 
I   Cards   must  be   surrendered 


1  finrdleis  of  cornet  i>r<>n>in<-i<i'.ion. 
[  tions,  page  133)  . 


No  requirements. 
when    called    >•<',- 
(See  Instruc- 


t 

r 


URADE. 


Classes  A,  B,  C  and  D  Titles  and  names  neces" 
sarily  used  to  indicate  cards  desired  m-uxt  l> 
eorrteHg  pronounced.  (See  Instructions,  pages 
133  and  134.) 

Classes  A  and  B.  Give  date  upper  Uft  hand 
corner  of  card . 

Classes  C  and  D.  Give  title  of  work  and  n«ini 
of  composer  but  correct  pronunciation  if  the  latter  is 
not  yet  required.  (See  Instructions,  page  134.) 

(      Classes  A  and  B.     Give  both  dates  upper  k-ft 

and  right  corner  of  card. 
•i.       Classes  C  and  D.     Give  title  of  work  and  name 

of  composer  and  pronounce  both  correctly.     (See 
[  Instructions,  page  134). 

C      Classes  A  and  B.     Answer  correctly  question 

No    1  assigned  to  the  card  required. 
5th   GKADF    J        Classes  C  and  D.     State  irln'n  and  where,   the 

|    work  represented  upon  the  card  demanded  was-; 
produced  :  as  tor  example:  Peri's  Eurydici>,¥\or- 

[ence,  1000.   (See  Instructions,  page  135.) 


4tli 


SUMMARY  OF  REQUIREMENTS. 


147 


6th  GRADE.  - 


Classes  A  and  B.  Bevieto  5th  Grade;  answer 
correetlj'  ques.  No  1  assigned  to  the  card 
required. 

Classes  C  and  D.  Give  iliti-  of  faYM  (upper 
left  corner)  of  compose]-  represented  upon  card 
demanded,  Correct  pronunciation  of  Mft  ///////e 
and  titlf  now  and  Iiereuftcr  <tbr-i\:\  m/</m-'/  in  t/n.-.i- 
Card  may  l»e  retained  even  if  date  <>i' 
birth  be  correctly  g-iven,  if  pronunciation  is 
incorrect.  (See  Instructions  page  135.) 

Classes  A  and  B.  /,'</•/,,/  4th  Grade.  Give 
butli  diti'H  uj»pi-r  left  and  right  liand  corners  of 
cards. 

Classes  C  and  D.     Give  in>!1,  dates  —  birth  and 
i  if  composer,  as    for  example.   Peri    l.">f>0- 
.      (^See  Instructions  page  136.) 

Classes  A  and  B.  Jieriew  5th  Gradf  ;  answer 
correctly  '/".•.->.  X<>.  1  assigned  to  the  card  re- 
quired. 

Classes  C  and  D.  Answer  correctly  q>ifs. 
\'i.  7  assigned  to  the  card  required.  (_!3ee  In- 
structions page  136.) 

NOTE:  Add  to  cards  already  in  use,  all  of  CLASS  K  SYMPHONY 
and  the  "unclassified  general  cards'1  Fantasia  &nd  >'</////  Without 
Wordt. 

(       Classes  A.  B,  C  and  D.      ,.  ''';v/fZe;  an- 

swer   coi'l-ectly     qin.-s.    Xo.     1    ;!>s;gii-'d     to    the 
card  required. 

Class  Iv  Give  r*irr<H  ]»-«»iiin'i<it!»i,  -•('  nnim* 
of  composers  and  tlntrx  of  hit  tit  and  </.•>/////.  (See 
Instructions,  page  13(5). 

NOTE:  Add  to  cards  already  in  use  all  of  CLASS  F,  CONCERTO, 
and  the  ''unclassified  general  cards"  l-'m/n,  and  (Jnnlitiix  <>f 


Sth  GRADE. 


9th  GRADE 


Classes  A.  I>.  C  ami  I).  7iV/v'< /r  Srh  (truth-. 
Answer  correctly  ques.  No.  1  assigned  to  the 
card  required . 

Class  K.  Answer  correctly  ques.  No.  1 
assigned  to  the  card  required. 

Class  F.    Give  correct  pronunciation  of 
«  if  &  .i:,po:»ers  and  dates  of  birth  ami  ih'ntli.    ( 
AWARDED      Head    carefully  Instructions, 


10th  GRADE. 


NOTE:  Add  to  cards  already  in  use  all   of  CLASS  G.  SONATA, 
and    the    "unclassified    general   cards"   ^'m-tiirnf   and 
Musical  Forms. 


11 


148 


SUMMARY  OF  REQUIREMENTS. 


f      Classes  A,  B,  C.  D  and  E.     Itevww.     Answer 
correctly   ques.    No.   1   assigned   to   the    card 
required.    [Note:  If  preferred  the  requirements 
j   in  those  classes  in  this  grade  may  consist  of  a 
!   review  of  the  dates  instead  of  the  tirst  question.] 
Class  F.     Answer   correctly   ques.  No.  1  as- 
signed to  the  card  required. 

Class  G.  Give  correct pronunciution  of  names  of 
composers  and  (bites  of  birth  and  death.  (See 
Instructions,  page  137). 


llth  GRADE. 


NOTE-  Add  to  cards  already  in  use  all  of  CLASS  H,  CHAMBER 
Music,  and  the  "imcla.ssitied  general  cards"  Literary  Interpreta- 
tion in  M'Hx'n-nl  .-fat/H-firx  and  The  Ilistoiy  of  Music-;  Reasons  Why  it 

'  Sf  ml/I'll. 

f  Classes  A,  B,  C,  D,  E  and  F  lleciew.  An- 
swer ques.  No.  1  assigned  to  the  card  re- 
quired. [Note:  If  preferred  the  requirements 
in  these  classes  in  this  grade  may  consist  of  a 
ri'i'it'ir  <>f  il'iti, v  ///.  Glauses  A  and  7?  and  of  time  and 
l>b K-C.  of /,  rod  net  ion,  of  works  wlwn  given  upon  the 
cfirds  in  Classes  C,  D,  E  and  F  ] 
12th  GRADE.  •{  Class  G.  Answer  correctly  question  No.  1 
assigned  to  the  card  required. 

Class  II.  Give  correct  pronunciation  of  names 
of  composers,  dates  of  birth  and  death  and  time 
and  place  of  works  when  given  on  the  cards. 
[Note:  This  requirement  may  be  abridged  at 
the  discretion  of  the  teacher  or  participants  if 
^  too  difficult.  See  Instructions,  page  1H7.] 

NOTE:  Add  to  cards  already  in  use  all  of  CLASS  I,  SONG. 

Classes  A,  B,  C,  D,  E,  F  and  G.  Give  cor- 
rect pronunciation  of  names  and  dates  of  birth 
and  death  of  composers. 

IHth  GRADE.  -<       Class   H.     Answer    correctly    ques.    No.    1 
assigned  to  the  card  required. 

Class  I.  Give  correcf  prt>n>iuri<iti<>n,  of  names  of 
composers  and  dates  of  birth  and  death. 

Classes  A  and  B.  Answer  correctly  ques. 
No.  2  assigned  to  the  card  required. 

14th  GRADE  Classes  C,  I),  E,  F.  G  and  II.      Give  names 

and  dates  of  composers. 

Class  I.  Answer  'correctly  ques.  No.  1  as- 
signed tu  the  card  required. 

NOTE:  In  this  and  all  subsequent  grades  the  "unclassified 
general  ca;-<ls"  may  be  called  at  will  from  one  to  the  other. 
(See  Instructions,  page 


SUMMARY  OF  REQUIREMENTS. 


149 


Classes  A  and  B.    Answer  ques.  No.  2. 

Classes  C  and  D.     Answer  ques.  No.  '2. 

Classes  E,  F.  G,  Hand  I.  Give  names  and 
dates  of  composers. 

Unclassified  cards,  give  correct  answer  to 
([lies.  No.  1  assigned  to  the  card  required. 


15th  GRADK. 


Kith   GRADE. 


17th  GRADE.  -' 


ISth   GRADE. 


I'.lth   GUADK. 


•20th 


'-21st    GRADE. 


22nd  GRADE. 


23rd  GRADE. 


24th   GRADE. 


•Jfith   GRADE. 


Classes  A,  B,  C  and  D.     Omit, 
Classes  E,  F,  G  and  H.    Answer  toques  No.l. 
Class  I  and  unc'assified  cards.     Answer  ques. 
No.  1.     (See  Instructions,  page  138) 

Classes  A,  B,  C  and  D.     Omit, 

Classes  1C.  F.  G.  H  :.nd  I.    Answer  ques.  No.  2. 

Unclassified  cards.     Answer  ques.  No.  1. 

Classes  A,  B,  C  and  D.     Omit. 

Classes  E,  F,  G  and  H.     Answer  ques.  No.  2. 

Class  I  and  unclassified  cards.  Answer  to 
ques.  No.  2. 

Classes  A,  B,  C  and  D.    Answer  ques.  No.  3. 

Classes  E,  F.  G  and  H.     Omit. 

Class  I  and  unclassified  cards.  Answer  to 
ques.  No.  2. 

Classes  A,  B,  C  and  D.     Omit. 

( ''asses  K.  F.  G,  and  H.    Answer  ques.  No.  3. 

Class  I  and  unclassified  cards.  Answer  ques. 
X"  ~1  (Read  carefully  Instructions,  pages 
L39  and  !40). 

Classes  A,  B.  C  and  D.       Answer  ques.  No.  4. 
Classes  E,  F,  G  and  H.     Omit. 
Class  I  and   unclassified    cards.      Answer  to 
ques.  No.  4. 

Classes  A,  B,  C  and  D.    Answer  ques.  No.  4. 

Classes  E,  F,  G  and  H.     Omit. 
( 'lass  1  and  unclassified  cards.      Answer  ques. 
No.  3. 

Classes  A,  B,  C  and  D.     Omit. 
Classes  K.  F.  G  and  H.    Answer  ques.  No.  4. 
Class  I  and   unclassified  cards.      Answer  to 
ques.  No.  3. 

Classes  A,  B,  C  and  D.    Answer  ques.  No.  4. 

Classes  E,  F.  G  and  H.     Omit. 

Class  I  and  unclassified  cards.  Answer  to 
ques.  No.  4. 

Classes  A,  B,  C  and  D.     Answer  ques.  No.  5. 

Classes  E,  F,  (J  and  H.     Omit. 

Class  1  and  unclassified  cards.  Answer  to 
ques.  No.  4. 


150 


SUMMARY  OF  ItEQUTREMENTS. 


( 'lasses  A,  13,  C  and  D.     Omit. 
,       (lasses  K,  F,Gand  H.     Answer  ques.  No.  5. 
DE-   j       Class  I  and  unclassified  cards.      Answer  to 

I   ([lies.  No.  4. 

Classes  A.  13,  C  and  D.     Answer  ques.  No.  5. 
Classes  E,  F,  G  and  H.     Omit. 
Class  I  and   unclassified   cards.      Answer  tr 
ques.  No.  5. 


27th  GRADE. 


2Stll     (JHAI.K. 


29th  GRADE. 


30th  GRADK. 


81st   GRADE. 


32nd  GRADE. 


33rd  GRADE. 


34th  GRADE. 


35th  GRADE. 


Classes  A,  B,  CandD.  Answer  question  No 
1,  2,  3,  4  or  5  as  required. 

Class  E,  F,  G  and  H.  Answer  question  No 
1,  2,  3,  4  or  5  as  required. 

Class  I  and  unclassified  cards.  Answer  to 
ques.  No.  1,  2,  3,  4  or  5  as  required.  (See 
Instructions,  Grade  28,  page  141.) 


Answer  ques.  No.  6. 

Omit. 

ranis.      Answer  to 


( 'lasses  A,  B,  C  and  D. 
Classes  E,  F,  G  and  H. 
Class  I  and  unclassified 
ques.  No.  5. 

('lasses  A,  H,  Cand  1).  PRIZB  AWARDED.  Omit. 
( Classes  E,  F,  G  and  H.     Answer  ques.  No.  6. 
Class  I  and   unclassified  cards.      Answer  to 
ques.  No.  5. 

(  'lasses  A,  B,  Cand  D.      Answer  ques.  No.  6. 
Classes  K,  F,  G  and  H.     Omit. 
Class  I  and   unclassified   cards.     Answer  to 
ques.  No.  6. 

Classas  A,  B,  C  and  D.     Answer  ques.  No.  7. 

Classes  E,  F,  G  and  H.     Omit, 

Class  I  and  unclassified  cards.  Answer  to 
ques.  No.  6.  (See  Instructions,  Grade  32, 
page  142.) 

•      Classes  A,  B,  C  and  D.     Omit. 
Classes  E.  F,  G  and  H.  Answer  ques.  No.  7. 
Class  I  and    unclassified   cards.     Answer  to 
ques.  No.  6. 

Classes  A,  B,  C  and  D.    Answer  ques.  No.  7. 

Classes  E,  F,  G  and  H.     Omit. 

Class  I  and  unclassified  cards.  Answer  to 
ques.  No.  7.  (See  Instructions,  Grade  34, 
page  142.) 

Classes  A,  B,  C  and  D.  Answer  ques.  No.  8. 
Classes  E,  F,  G  and  H.     Omit. 
Class  I  and  unclassified   cards.     Answer   to 
ques.  No.  7. 


SUM  MA  R  T  OF  REQ  UIR  E  ME  NTS.  \  5 1 

(       Classes  A.  I).  ('  and  J>.     Omit. 
r>D.  Classes  K,  F.  G  and  H.   Answer  ques.  No    s. 

GRADE.    < 

j       Class  I  and  unclassified  cards.     Answer  1» 
(_  ques.  No.  7. 

C       Classes  A.  I!.  C  and  1).  Answer  ques,.  No.  s. 
37th  CI-ADE    4        Classes  K,  F,  C  and  II.     Omit. 

j       ("Mass  1  and  unclassified    cards.       Answer  to 
[  ques.  No.  8. 

f      Classes  A,  B.  C,  and  1)     Answer  ques.  No.  it. 
38th  GR\DE  Classes  E.  F.  <i  and  II.     Omit. 

|        Class  I  and   unclassified    cards.      Answer    to 
I    ques.  No.  N. 

f       Cla.-ses  A,  li,  (.'  and  I).     Omit. 

,,Q,J  /->„..  ,.  I  ''lasses  K.  F,  C  and  11.  Answer  ques.  No.  '•>. 
"]  Class  1  and  unclassified  eurds.  Answer  to 
[  ques.  No.  8. 

Classes  A,  I>.  ( '  and  I).    Answer  ques.  No.  !t. 


40th  GKADK   J       Classes  E,  P,  G  and  H.     Omit. 

]        Class  I  and   unclassified   cards.       Answer  to 
I    ques.  No.  !). 

f       Classes  A.  U.  C  and  1).      Answer  ques.  No.  10. 
41st  <TR\DE  < 'lasses  K.  F.  (I  and  11.     Omit. 

1        Class  1  and    unclassified    cards.     Answer    to 

(    ques.    No.  it. 

f       Classes  A.  I>.C  and  1)      Omit. 

,.,  ,1  f  R4nF  I  Classes  F.  F.  (i  and  II.  Answer  ques.  No.  10. 
j  Class  I  and  unclassified  cards.  Answer  to 
[  ques.  No.  '.I. 

f       Classes  A.  15,  C  and  I>.      Answer  ques.  No.  10. 

.„    ,   r,  Classes  K.  F.  (J  and  II.     Omit. 

43rd  (TRADE.  -!.  ,       ...    , 

j        Class  1  and    unc.lassilied    cards.     Answer    to 

l_  <}ues.  No.  10. 

f       Classes  A.  15,  C.  Dand  li.   Answerques.No.il. 
.,.,     f.  Classes    F.   C,   II.   I   and    unclassified    cards. 

UE-  "',    Answer     ques     No.    10.         (See     Instructions, 
[  Grade  44.  page  143.) 

(Classes  A.  15,   C.   1)  and    K.       Answer  (lues. 
F.  G,  H,  I  and   unclassified    cards.     Answer 
ques.  No.  11. 

(      Classes   A,  li,  C,   1)  and  E.      Answer  ques. 
.....    ^  !    No.  12. 

DE"   ]       F,  G,  H,  1  and  unclassified  cards.      Answer 
[  ques.  No.  11. 


152  SUMMARY  OF  REQUIREMENTS. 

(Classes  A,  B,  C,  D  and  E.      Answer  ques. 
No.  12. 
F,  G,  H,  I  and  unclassified  cards.      Answer 
ques.  No.  12. 

f      Classes  A,  B,  C,  D  and   E.      Answer  ques. 
!  No.  13. 
rRADK.  <       F   G<  H   j  and  uncia8Sine(j    cards.     Answer 

[  ques.  No.  12. 

f      Classes  A,  B,  C,  D  and   E.      Answer  ques. 
!   No.  13. 

"  1       F,  G,  H.  I  and  unclassified   cards.     Answer 
(  ques.  No.  13. 

(       Include  all  of  the  cards.    Answer  ques.  No. 
UE'  \  14.     (See  Instructions,  page  144.) 

(      Include  all  of  the  cards.     Answer  ques.  No. 
\  15.     (See  Instructions,  page  144  J 

f       Omit  classes  CandH.    Answer  ques,  No.  16 
52nd  GRADE,  j  (m  remaining  cards. 

r»3rd  GRADED      Answer  ques.  No.  17  upon  remaining  cards. 

n  J      Omit  Class  A.     Answer  question  No.  18  upon 

B>  \  remaining  cards. 

PI        J      Answer  to  any  ques.  asked  relating  to  card 
K   i  called  tor.     (See  Instructions,  p.  144.) 

GRADES  56  rft    ( 
58  59  fc'fK)'  ]      RePea-t  the  requirements  of  55th  Grade. 


\OA\\r.lL    COC/tSE.  153 


NORMAL    COURSE. 


COMPLETING     THK     STl'DIKS    IN    TWI  I  VI.     I.KSSoNS. 


In  order  to  meet  the  wishes  of  advanced  students  de- 
siring to  master  the  outlines  of  musical  history  in  the 
smallest  practicaole  number  of  lessons,  the  following 
system  of  progressive  grades  has  been  devised,  based 
upon  a  special  series  of  questions,  four  to  each  card,  so 
planned  as  to  elicit  their  entire  contents.  As  there  are 
96  cards  in  the  pack,  even  this  small  number  of  ques- 
tions will  afford  no  less  than  384  questions,  besides  the 
names  and  dates  at  the  top  of  the  cards.  It  will  there- 
fore be  impossible  to  master  the  information  within  the 
limits  here  proposed  unless  considerable  preparatory 
study  is  given  each  exercise.  The  average  of  questions 
will  be  about  thirty- three  at  each  exercise,  and  it  is  not 
far  from  accurate  to  say  that  the  matter  necessary  to 
master,  in  order  to  answer  them  fairly,  will  be  equal  to 
about  eight  or  ten  pages  of  a  high-school  text- book. 
This  amount  of  matter  is  not  a  long  lesson  for  any  high- 
school  pupil,  and  the  conditions  of  emulation  and  the 
vicissitudes  of  the  game  will  render  the  exercise  interest- 


154  NORMAL   COURSE. 

ing  in  spite  of  the  amount  of  work  it  contains.  In  order 
to  conduct  the  Normal  Course  successfully,  the  follow- 
ing directions  in  regard  to  the  cards  used  and  the  re- 
quirements of  each  grade  must  be  scrupulously  observed. 
(Jr.-ide  1.  Begin  with  a  partial  pack,  embracing  all  of 
Classes  A,  B,  C,  1),  and  the  unclassified  general  cards, 
••Mass,"  -Requiem,"  "Te  Deum,"  "Principles  of  the 
beautiful,"  "The  Classical  in  Music,"  "The  Romantic 
in  Music,"  "Rules  of  Pronunciation,"  and  "Literar}' 
Interpretation  in  Musical  ^Ethetics." 

The  eight  unclassified  general  cards  are  not  called 
from  one  player  to  another  until  Grade  9.  They  re- 
main with  the  player  obtaining  them  from  the  pack  until 
combined  in  books,  according  to  the  rules  in  Sec.  II. 

Deal  one  card  to  each  player  in  turn,  until  each  has 
four.  Place  the  remainder  of  the  pack  used  face  down- 
wards, at  a  convenient  place  upon  the  table.  The  player 
upon  the  left  of  the  dealer  has  the  first  right  to  call  from 
any  other  player  he  may  select,  whatever  card  he  may 
•  l.-sire  for  completing  or  advancing  a  "book,"  the  same 
as  directed  in  Sec .  IV . 

Requirements  in  Grade  1.  No  card  need  be  sur- 
rendered by  the  player  from  whom  it  has  been  called  un- 
less the  caller  give,  beside  the  title  of  the  card,  the  name 
of  the  composer  and  the  dates  of  birth  and  death. 
Cards  of  Classes  A  and  B,  not  being  devoted  to  specific 
works,  must  be  claimed  by  giving  the  dates  of  the  per- 
sons and  period  as  found  upon  the  upper  corners  of  the 
«"irds,  or  in  the  body  of  the  text.  These  dates  and  the 
"Mines  of  the  composers  may  be  given  by  the  caller  at 
first,  or  he  may  only  give  the  title  of  the  card,  where- 
upon the  holder  may  demand  the  remaining  informa- 
tion here  required  before  surrendering  it.  If  the  card 


NORMAL   COURSE.  IT, 5 

is  not  held  by  the  player  from  whom  it  has  been  called, 
llie  player  draws  the  top  card  from  the  pack,  as  in  Sec. 
IV.  If  the  card,  however,  is  not  surrendered  for  want 
of  the  explicit  information  here  designated,  the  caller 
forfeits  his  privilege  of  drawing  from  the  pack.  Then 
the  player  next  upon  his  left  has  the  privilege  of  calling, 
upon  the  same  conditions. 

Grade  2.  The  pack  remains  as  before,  Classes  A,  B, 
C,  D,  and  the  eight  unclassified  general  cards  mentioned 
in  Grade  1.  Requirements:  Cards  are  called  by  their 
titles,  and  if  devoted  to  particular  works,  the  name  of 
the  composer  must  be  added.  If  the  player  from  whom 
the  demand  is  made  holds  the  card  called,  he  will  not 
surrender  it  until  the  lirst  question  concerning  this  card 
in  the  Normal  Course  has  been  fairly  answered.  In  case 
of  dispute  as  to  the  sufficiency  of  answers,  the  decision 
is  made  as  explained  in  Sec.  V. 

Grade  .'>.  The  pack  remains  as  before.  Require- 
ments: Cards  are  called  as  in  the  previous  grade,  but 
the  holder  will  not  surrender  them  until  the  2nd  ques- 
t  ion  of  the  Normal  Course  has  been  answered  sufficiently. 

Grade  4.  The  pack  remains  as  before.  Require- 
ments: The. caller  must  answer  the  3d  question  of  the 
Normal  Course  before  the  card  will  be  surrendered. 

Grade  5.  Add  to  the  pack  in  use  in  the  earlier  grades 
all  the  cards  of  Classes  E,  F  and  G,  and  the  following 
unclassified  general  cards:  "Fugue,"  '"Fantasic," 
••Nocturne,"  "Song  Without  Words," '"Madrigal"  and 
"Musical  History."  Requirements:  Classes  E.  F  and 
(i  will  not  be  surrendered  unless  the  names  and  dates  of 
composers  are  given.  Classes  A  and  15  require  the  4th 
question  of  the  Normal  Course  to  be  answered.  Classes 
C  and  I)  still  remain  at  the  3d  question.  (Note.  At 


\<)/{.MAL    COUNSE. 


the  discretion  of  the  teacher,  one  of  the  earlier  questions 
may  be  substituted  in  these  classes  in  this  grade,  for  the 
sake  of  review.) 

Grade  (>.  The  pack  ivmains  as  in  Grade  5.  Re- 
quiremenls:  Classes  E,  F  G,  1st  questions  of  Normal 
Course.  Class  C,  4th  question.  Class  A  and  B  any 
question  of  the  Normal  Course  which  the  teacher  or  the 
class  may  agree  upon  at  commencing  the  game.  (This 
will  have  the  force  of  a  review  in  these  classes.) 

(Irnde  7.  Pack  remains  as  in  Grade  5.  Require- 
ments: Classes  E,  F  and  G,  2nd  question  of  the  Nor- 
mal Course.  Class  D,  4th  question  of  Normal  Course. 
Classes  A,  B  and  C,  any  question  which  the  class  may 
have  agreed  upon  at  the  beginning  of  the  exercise. 

Grade  8.  Add  the  cards  of  Classes  II  and  I,  and  the 
remaining  unclassified  cards.  Requirements: 

Classes  II  and  I,  names  and  dates  of  composers.  Classes 
E,  F,  G,  3d  question  of  Normal  Course.  Classes  A,  B, 
C.  1),  names  and  dates  of  composers,  or  dates  of  periods 
in  Class  B. 

Grade  9.  In  this  grade  the  general  unclassified  cards, 
for  the  first  time,  are  called  from  one  player  to  another, 
exactly  like  all  others.  For  this  reason  they  acquire  a 
special  value  in  this  and  the  following  grades  of  the 
course.  See  Sec.  Ill,  14.  Requirements:  Unclassi- 
fied general  cards,  the  1st  question  of  the  Normal  Course. 
Classes  E,  F,  G,  4th  question  of  Normal  Course. 
Classes  H  and  I,  1st  question  of  Normal  Course.  Classes 
A,  B,  C,  I),  1st  question. 

Grade  10.  Full  pack.  General  cards,  unclassified,  sub- 
ject to  call.  Requirements:  Unclassified  general  cards 
and  Classes  II  and  I,2d  question  of  Normal  Course.  Classes 
A,  B,  C,  D,  E,  F  and  G,  2d  question  of  Normal  Course, 


NORMAL    COURSE. 


Grade  11.  Pack  the  same  as  in  preceding  grade. 
Requirements,  3rd  question  of  Normal  course  in  all 
classes. 

Grade  12.  Full  pack.  Call  general  cards.  Require- 
ments: 4th  question  of  all  classes.  Normal  Course. 

It  will  be  seen  that  in  this  course  the  entire  informa- 
tion upon  the  first  seven  classes  is  gone  through  and 
reviewed,  as  also  are  the  names  and  dates  of  composers. 
Should  the  teacher  care  to  cany  on  the  course  a  little 
longer,  the  unclassified  general  cards  may  be  restored  to 
the  position  which  they  occupied  in  the  first  seven  grades, 
remaining  with  the  player  acquiring  them  from  the  pack. 
All  other  cards  may  be  surrendered  upon  correctly 
answering  whatever  question  of  the  course  may  have 
been  selected  at  the  beginning  of  the  exercise,  or  two 
questions  may  be  required.  After  two  exercises  of 
this  kind  the  unclassified  general  cards  may  be  restored 
to  the  rank  they  have  in  grades  9  to  12,  and  all  four  of 
the  Normal  Course  questions  required  as  condition  to 
surrendering  them.  In  these  later  exercises  the  know- 
ledge of  the  players  will  by  no  means  remain  stationary, 
but  on  the  contrary  will  now  become  more  thorough  in 
respect  to  the  valuations,  and  the  relations  of  different 
works  of  the  same  class  to  each  other.  This  will  be  an 
incidental  result  of  the  effort  of  the  players  to  effect  more 
and  more  valuable  combinations.  The  honorable  com- 
pletion and  review  of  the  Normal  Course  should  be 
recognized  by  suitable  tokens  to  the  one  or  two  players 
having  icquired  the  highest  number  of  credits. 


158  SUM M AN)'  OF  /{E.$U/REAfENTS. 


SUMMARY  OF  REQUIREMENTS. 


PROGRESSIVE     GRADES     OR     EXERCISES. 


COTJIRSIE. 


NOTE:  As  it  is  manifestly  impossible  to  plan  a  course  which 
will  i"'  equally  well  adapted  to  pupils  of  various  decrees  of 
aptitude  and  proficiency,  the  author  relies  upon  the  teacher  to 
make  any  changes  '"  the  apportionment  of  requirements  which 

may    he  deemed    necessary    to    render    the    course  thoroughly 

practical  and  efficient.     It  may  lie  found  expedient  to  extend 

the  Normal  Course  through  a  greater  number  of  Exercises,  but 
<>f  this  the  teacher  or  class  must  be  the  judge. 

f      Classes  A  and  U.     Give  dates  upper  right  and 
|   left  hand  corner  of  cards. 

1st  GRADE.   <!       Classes  0  and  D.     Give  title  of  work,  name  of 
composer,  and  dates  of  birth  and  death.      (See 
[  Instructions,  page  153  and  154  ) 

(      Classes   A   and    B.     Answer   question  No.  1 
I    relating  to  the  card  required. 

•,'ud  GitAOB.  -I       Classes  C  and  1).     Give  title  of  work  and  name 

of  composer,  pronouncing  both  correctly.    Also 

(  answerques.  No,  1  relating  to  the  card  required . 

3rd  GRADE    /     Classes  A  and  B.     Answer  ques.  No.  2. 
\      Classes  C  and  T).     Answer  ques.  No.  2. 

4th  Grade.   /      Classes  A  and  B.     Answer  ques.  No.  3. 
\      Classes  C  and  D.     Answer  ques.  No.  3. 

NOTE:    Add  all  cards  of  Classes  E,  F  and  G,  and  six  unclas- 
sified general  cards.     (See  Instructions,  page  155.) 


OF  REQUIREMENTS. 


159 


r 


5th  GRADE. 


7th  GRADE. 


Classes  A  and  B.     Answer  ques.  No.  4. 
Classes  A  and  D.     Answer  (pies.  No.  3. 
|       Classes  E.  F  and  G.     Give  dates  of  birth  and 
[  death. 

Classes  A  and  B.     Answer  toques.  No.   1,  2, 
3  or  4,  as  teacher  or  class  may  decide 
6th  GRADE.  •{       Class  C.     Answer  to  ques.  No.  4. 
Class  D.     Answer  ques.  No.  3. 
Classes  E,  F  and  G.     Answer  ques.  No.  1. 
Classes  A,  B  and  C.    Answer  to  ques.  No.  1, 
2,  3  or  4  as  teacher  or  class  may  decide. 

Class  D.     Answer  (pies.  No.  4. 
[      Class  E.  F  and  G.     Answer  ques.  No.  2. 
NOTE.     Add  all  of  remaining'  cards. 

Classes  A.  B,  C  and  D.      Give   dates  upper 
right,  and  left  hand  corners  of  cards. 
8th   GRADE.  4       Classes  E,  F  and  G.     Answer  ques.  No.  3. 

Classes  II  and  I.     Give  dates    of  birth    and 
death. 

Classes  A,  B,  C  and  D.  Answer  question  No  1. 
Classes  E,  F  and  G.     Answer  ques.  No.  4. 
Classes  H  and  I.     Answer  ques.  No.  1. 
Unclassified  cards.      Answer  (pies.  No.  1. 
Answer  ques    No.  2  upon  all  the  c>."ds. 
Answer  ijues.  No.  3  upon  all  the  cards, 
Answer  ques.  No.  4  upon  all  the  cards, 


9th  GRADE,  i 

10th  GRA: 
llth   GRADE.  •{ 
12th   GR»DK.  -{ 


160  RULES  AND  SUGGESTIONS. 


SUPPLEMENTARY  RULES  AND  SUGGESTIONS. 


1.  When  a  player  having,  (originally),  only  general 
cards  in  his  hand,  has  no  list  of  titles  to  guide  him  in 
calling,  he  may  use  his  privilege  of  drawing  from  the 
pack  before  asking  for  cards. 

2.  It  frequently  becomes   possible   to    form    a   book 
when  by  doing  so  the  player  will  suffer  a  disadvantage, 
by  using  all  the  cards  in  his  hand  which  have  the  list  of 
titles  upon  them.     In  such  instances,  as  he  voluntarily 
incurs  this  disadvantage  for  the  purpose  of  acquiring  a 
book,  he  must  abide  by  the  consequences  and  lose  his 
call. 

3 .  When  a  book  is  formed,  the  class,  names  of  com- 
posers, and   if  demanded  the  titles  of  works  upon  the 
cards  used,  must  be  distinctly  announced.     As  the  "un- 
classified general  cards"  are  not  subject  to  call  until  after 
the  15tli  grade  in  the  Regular  Course,  and  the  9th  grade 
in    the   Normal  Course,  it  is   unnecessary   to    announce 
them  before  those  grades.     In   announcing  cards  it  will 
be  found  most  satisfactory  to  all  the  players  to  have  the 
clnss,   and  names  of  composers  given   instead  of  titles, 
as   they  are  more  easily  remembered,  thus:     "Class   E, 
Symphony,  Beethoven,  Schubert,  Liszt  and  an  unclassi- 
fied card . ' ' 

4.  A  player  may  be  privileged    to    look    at    his  own 
"books"  at  any  time,  should  he  forget  what  he  has  dis- 


RULES  AND  SUGGESTrONS.  161 

carded ,  bat  has  no  right   to   demand  such    information 
from  his  opponents. 

5.  When  a  player  wishes  to  form  a  book,  he  must  so 
announce  before  the  player    next    following   has    called. 
After  he  has  drawn  from  the  pack,  and  his  opponent  has 
called,  he  has  forfeited  his  right   to    form    a  book   until 
after  his  next  call. 

6.  When  a  player  announces  his  intention  of  forming 
a  book,  he  must  announce  the  class  at  once,  and  if  the 
player  next  following  does  not  wish  to  call  any  cards 
from   that  class,  he    may    proceed    to   call    others,  thus 
avoiding  delay.     But  having  once  announced  the  inten- 
tion of  forming  a  book  in  a  certain  class,  the  player  so 
announcing  must  form  the  book,  as   such  an  announce- 
ment unfulfilled  is  misleading.     Failing   to  form  a  book 
after    having   so   announced,  a   player  forfeits   his  next 
call,  and  can  only  draw  from  the  pack  at  his  turn. 

7 .  No  cards  are  to  be  called    after   the    last  card  has 
been  drawn  from  the 'table.     Players  must  then  form  all 
books  possible  from  the  cards  in  their  possession.     After 
all  books  possible  have  bwi)  firmed,  each   player    must 
place  all  cards  still  remaining  m  his  possession,  text  up- 
wards, on  the  table  within  plain  view  of  all  the  players. 
The  player  who  is  found  to  still  have  the  largest  number 
of  cards  of  any  class  shall  be  entitled  to  all  the  cards  of 
that  class  held  by  all  other  players.     Should  two  or  more 
players  have  an  equal  number  of  cards,  then  the  right  of 
possession  depends  upon  the  total  valuations  of  the  first 
quality  in  the  qualitative  analysis  nearest  to  the  top  of 
cards.     For   example   should  A  have   the  two  cards  of 
Class  C  Tristan  and  Isolde  and   The  Huyenots  and  B  the 
two  cards  Fidelia  and  Teodora,  A  would   be  entitled  to 
the   cards  because  the   valuation  of  "Musical  Fitness" 


162  RULES  AND  SUGGESTIONS. 


which  is  the  first  quality  in  the  table  of  opera  is  ten  in 
one  and  eight  in  the  other  of  the  two  first  cards  mentioned 
aggregating  eighteen  while  in  the  two  latter  cards  it  is 
marked  respectively  seven  and  three,  in  total  ten.  The 
players  holding  an  equal  number  of  cards  at  this  point 
will  ihus  add  together  the  valuations  of  the  first  quality 
and  the  one  who  has  the  highest  tola!  number  shall  be  en- 
titled to  all  the  cards  of  that  class.  In  case  any  two  or 
more  players  find  upon  addition  that  their  numbers  are 
equal  the  valuations  of  the  second  quality  in  the  table  are 
to  be  used  to  determine  the  right  of  possession  in  exactly 
the  same  manner.  The  "unclassified  general  cards"  are 
not  to  be  exchanged  but  remain  permanently  in  the  pos- 
session of  the  players  holding  them  when  the  last  card 
is  drawn  from  the  table.  After  each  player  has  obtained 
all  Uie  cards  to  which  he  is  entitled  through  this  process, 
additional  books  may  be  formed  and  the  exercise  finally 
closed.  This  method  may  be  adopted  or  not  at  the  op- 
tion of  the  participants  but  the  point  must  be  decided  at 
the  beginning  of  the  exercise. 


DICTIONARY.  171 


I'U<>NorX('lN<;    DICTIONARY 


NAMES,  TKRMS  AND  PHUASKS  TSKD  IN  THE  STUDIES. 


Completeness  lias  been  no  part  of  the  design  of  this 
dictionary,  it  being  essentially  supplementary  to  the 
present  Studies.  Its  object  is  to  furnish  pronunciations, 
definitions,  explanations,  etc.,  of  words  contained  in  the 
text  of  the  cards,  which  might  not  be  readily  understood 
and  correctly  pronounced  by  the  younger  pupils. 

If  the  simplicity  and  common  usage  of  certain  words 
would  seem  to  preclude  the  necessity  of  pronouncing  and 
defining  them  here,  the  reader  will  generously  attribute 
this  fact  to  the  earnest  desire  of  the  author  to  adapt  the 
Studies  to  the  xise  of  very  young  pupils,  (and  some  who 
are  well  advanced  in  years  are  very  young  in  music), to 
render  every  word,  phrase  and  sentence  thoroughly  in- 
telligible to  all. 


a  as  in  alt,  it  add.  a  (inn.  0  ere.  c-  end,  I  ice,  t  ill,  o  old,  6  odd.  oo 
moon,  ii  bite,  u  1»it.  ii  French  *<>niul,  like  e  in  >/<  ir. 

Adagio,  (ii-da'-je-o).  A  very  slow  degree  of  movement.  Its 
original  meaning  was  a  rate  of  speed  convenient  to  Ihe  player, 
hence,  gradually  its  present  meaning. 

Agnus  Dei,  (ag'-niis  da'-G).  Lamb  of  God.  One  of  the  musical 
anthems  in  the  mass. 

A  la  Champetre,  (a  la-chiim-patr').     Out  of  doors. 

Allegro,  (al-la'-gro).     Rapid  movement;   cheerful. 

12 


Allegro  Moderato.  (al-hV-gro  mod  c-  iii'  '..>).    Moderately  quick. 

Allegro  Scher/ando.  (al-l:V-gro  sker-tsan'.do).  Quick  and 
playful;  lively;  merry. 

Aim*  Redemptori,  (al'-mii  re-dCm-to'-re).  A  hymn  to  the  vir- 
gin. 

Amateur.  (:im'-a-tur).  One  who  has  taste  for  music,  but  does 
not  practice  it  as  a  profession;  a  dilettante. 

Aiiibriisiaii  Scales.  The  four  motif*  or  scales  adapted  by  St. 
Ambrose.  Hishop  of  Milan,  from  the  ancient  (ireek  system. 
M.  Gregory  the  Great  and  his  Reforms,  Class  A.  Anti- 
quities of  Music. 

Andante,  (iin-dan'-tg).  Rather  slow.  Frequently  combined 
with  qualifying1  words. 

Andantino.  (an-dan-te'-no).     Slower  than  andante. 

Antiphonary.  (.in-tif-fo-na-ry).  Book  of  anthems,  responses, 
etc..  in  the  Catholic,  church. 

Antiphonarium.  (an'-ti-fo-na'-ri-um).  The  collection  of  Anti- 
phons  used  in  the  Catholic  church;  they  are  sung1  respon- 
sively  by  the  priest  and  congregation  or  by  two  c.hoirs. 

Arez/n,  (;i-rr-t'-Sd).     A  Tuscan  city  on  the  Chiana. 

Aria,  (a'-rc-ii).  An  air;  a  song,  sung  by  a  single  voice  with  or 
without  an  accompaniment.  (See  Class  I,  Definition  of  Quali- 
ties and  Characterization  of  Song,  and  Class  C,  Characteri- 
zation of  Opera). 

Arpeggio,  (ar-pad'-je-o).  A  broken  chord,  the  notes  being 
played  successively  instead  of  simultaneously.  Arpeggios 
begin  with  lowest  tone,  the  left  hand  tirst  then  the  right, 
upon  completion  of  the  left- 
Aryan,  (ru-'-i-an).  An  inhabitant  of  ancient  Persia. 

Aristotle,  (;lr'-is-tot-l) ;  b.  Stagira  in  Macedonia,  384  B.  C;  d. 
322  B.  C.  An  eminent  (ireek  philosopher.  The  first  observer 
of  musical  phenomena  by  ear.  (See  Class  A,  Ancient  Greek 
Music.) 

Aristoxenos.  (Sr-is-tok'-s.i-no).  A  pupil  of  Aristotle,  and  a  cel- 
ebrated musical  theorist.  His  doctrine  of  harmony  is  directly 
opposed  to  that  of  the  Pythagoreans,  according  to  whom 
musical  concord  depended  upon  certain  mathematical  ratios. 
Aristoxenes  sought  to  develop  the  theory  that  the  ear  is  the 
true  judge  of  concord,  and  that  its  impressions  may  be  gen- 
eralized into  rules.  (See  Class  A,  Ancient  (ireek  Music.) 


DICTIONARY.  17.; 


Asperges,  (Ss-pgr'zez).  An  antiphon  sung1  before  the  solemn 
mass  on  Sundays  during  which  the  priest  sprinkles  with 
holy  water  the  altar  and  people. 

.  (as-sa'-e).     Very;  as  Allegro  Assai,  very  quick. 

Augmentation.  A  technical  term  signifying  that  a  phrase  is  t» 
be  repeated  with  notes  of  double  length. 

Aulos,  (ow'-los).     The  Greek  flute;  a  sort  of  rude 

Ave  Regina,  (a-v€h  ra--je-nah).  "Hail  Queen  ;"  a  hymn  to  til-- 
Virgin. 

Barbiere  di  Siviglia,  (bar-be-a-re  de  se-bel-ya).  "The  Barbel 
of  Seville,"  a  comic  opera  by  Rossini,  ]^]>'<. 

Bard.  (bard).     A  poet  and  singer;  one   wh  .tion  was 

to  (Viiiipuse  and  sing  .  -rally  t"  the  accompaniment 

of  some  stringed  instrument. 

Bardi,  Giovanni,  (je-o-van'-ncbar'-de).  A  Florentine  patrician 
at  whose  palace  Peri.  Caccini.  Renuccini  and  others  met  to 
study  the  Greek  drama  which  resulted  in  the  origin  of  the 
ojK-ra.  See  < 

Ballet,  (bal'la).  A  >JH  i-tacular  dance  in  which  a  number  of 
performers  take  part. 

Pienedif'tion  des  Poignards.   (b5n-c  dik-phrm  duh  pwoin-y;inl). 
"Ulessing  of  the  Swards."    N;une  of  a  very  »-tt'-- 
ed  piece  in  Meyerl,.  .-i-'s  ••!..•?;  Hu«.nie! 

Benedirtus.  (l)cn-c-dik'-tus).  V)ne  of  the  principal  movements 
of  a  mass. 

Beni  Hassan,  (bcn'-i  has'-san).  One  of  the  oldest  burying 
places  of  the  Egyptians. 

Biban  el  Moulouk.  (be-baii'-el-moo-look').  The  ancient  Imrial 
place  of  the  kings  in  Egypt.  Here  were  found  illustrations 
of  musical  instrun.' 

Biber,  II.  J.  F.  von.  (bc'-bar) ;  b.  Warthenberg  in  Bohemia, 
lf.:^:  d.  1608.  One  of  the  finest  violinists  of  his  time  His 
compositions  were  fanciful  and  beautiful.  He  was  chapel 
master  to  Bishop  of  Salzburg. 

Birde.      English  composers  of  the  17th  century. 

Bizet.  G..  (lie'-zfi;:  b.  Paris.  ls:}S;  .1.  1^7"..  One  of  the  most 
distinguished  of  modern  French  composers.  His  m..st  cele- 
brated opera  is  "Carmen."  which  lias  long  held  ft  prominent 
place  upon  the  opera*  both  Europe  av:l  \merica. 

and  sfill  maintains  its  popularity. 


174 


DICTIONARY. 


Boyce,  Wm.;  b.  London,  1710;  d.  1779.  A  composer  of  eccle- 
siastical, dramatic  and  miscellaneous  music  of  originality  and 
of  strong,  clear  style.  In  174!)  made  Doctor  of  Music  by 
Cambridge  University.  Published  collection  of  standard 
works,  by  which  England's  choral  service  was  much  en- 
riched. 

Cadenza,  (kii-dent'-sa).  A  bravoura  passage,  commonly  in- 
troduced toward  the  close  of  a  piece.  The  most  elaborate 
,id  difficult  cadenzas  are  to  be  found  in  concertos. 

Canipenalla,  (kiim-pa-nel'-la).     A  little  bell. 

Canon,  (kitn'-on).  A  composition  in  which  a  second  voice  re- 
peats the  first  exactly,  beginning  later.  This  imitation  may 
be  in  the  unison,  octave  or  any  other  interval.  The  second 
may  also  repeat  the  first  backward,  or  inverse  order  of  in- 
tervals, etc.,  in  great  variety. 

Cantabile,  (kan-ta'-be-le).  In  singing  style.  Cantando  has 
the  same  meaning.  Both  are  derived  from  the  verb  cantare, 
to  sing. 

Caccini,  G.  (kat-tshe'-ne) ;  b.  Rome,  1558;  d.  1615.  Noted 
scholar  and  dramatic  composer;  with  J.  Peri  composed  opera 
Eurydice.  See  Class  C,  Eurydicr.  , 

Cantata,  (kan-ta'-ta).  A  composition  generally  elaborate  for 
solos  and  chorus  with  or  without  orchestra.  It  is  usually 
founded  upon  a  connected  story  but  without  action.  It  is 
the  secular  counterpart  of  the  oratorio. 

Cantelena,  (ka'n-ti-la'-na).  A  short  lyric  piece  either  for  voice 
or  instrument. 

Cantillation.     Chanting,  recitation  with  musical  modulations. 

Cantiones  Sacra?,  (ciin-te-o'-ncs  sa'-cra).  Sacred  songs;  a  col- 
lection of  motettes  by  Tallis  and  Bird.  1575. 

Cantus  Fermus,  (kan'-tus  fir'-mus).  The  fixed  song,  that  is, 
the  melody  which  is  taken  for  treatment  in  counterpoint. 

Canzona,  (kant-so'-na).  A  secular  polyphonic  song  of  popular 
character,  peculiar  to  the  15th  and  16th  centuries.  The  cor- 
responding French  word  is  Chanson. 

Catch.  A  humorous  composition  for  three  or  four  voices.  Of 
English  origin.  The  parts  are  so  written  that  the  singers 
catch  up  each  others  words  giving  them  a  different  sense 
than  that  of  the  original  reading. 


DICTIONARY.  175 


Cenerentola,  (tch6n'-er-gu-to'-la).  An  opera  by  Rossini,  writ- 
ten in  1817. 

Cervantes,  (sgr-van'-tez) ;  b.  1547;  d.  1616.  The  author  of 
Don  Quixote. 

Chanson,  (shanh-sonh).  A  little  song;  romances  sung  by  min- 
strels of  the  middle  ages.  (See  Class  I,  Definition  of  Qualities 
and  Characterization  of  Song). 

Chanson  of  Antioch.  A  celebrated  romance  or  series  of  metri- 
cal romances  relating  the  incidents  of  the  siege  of  Antioch  in 
thecrusades.  Developed  in  the  middle  ages,  and  very  popu- 
lar with  all  the  minstrels  for  about  two  centuries. 

Chanson  of  Roland.  A  mediaeval  romance,  or  series  of  ro- 
mances devoted  to  the  story  of  Roland,  a  Anight  in  the  .suite 
of  Charlemagne. 

Chamieso,  (sha-mls'-o) ; b.  1781 ;  d,  1838.  A  German  lyric  poet. 
Author  of  the  text  to  which  Schumann  set  his  beautiful 
music.  "Woman's  Love  and  Life." 

Chevey  Chase,  (tschev'-y).     An  old  English  ballad. 

Clierubini.  (kc-r  u-bc-'-iie);  1)  Florence.  1760:  <1.  1S4'J.  Eminent 
Italian  composer  of  operas. 

Chorale,  (ko-ra-lg).  Hymn  tunes.  The  term  properly  ap- 
plies to  the  German  mehxlies  sung  by  the  Protestant  congre- 
gations. 

Chromatic  Progressions.  Progressions,  or  successions  of  chords, 
in  which  are  introduced  chromatic  tones  and  chords  not  es- 
sentially belonging  to  the  diatonic  "track  of  the  key." 

Chromatic  Passage.  A  brilliant  passage  of  cadenxa  style,  in- 
volving a  large  proportion  of  chromatic  tones. 

Chromatic  Fantasia.  A  celebrated  piece  of  music  by  John 
Sebastian  Bach,  for  pianoforte.  It  is  very  free  in  style,  and 
contains  a  long  succession  of  very  dramatic  recitatives  for 
instrument  only,  each  phrase  ending  in  a  chord  of  the  di- 
minished seventh. 

Claronet.  Instrument  of  4ft.  tone  consisting  of  a  mouthpiece 
containing  a  single  beating  reed,  a  clyindrical  tube  terminat- 
ing in  a  bell  and  eighteen  openings,  half  closed  by  the  fingers 
and  other  half  by  keys.  Invented  by  Denner.  at  Nuremburg. 
If.  10;  improved  by  K'ose  of  Vienna,  1S43. 

Clavier,  or  Clavichord.  A  small  keyed  instrument,  like  the 
spinet  and  the  forerunner  of  the  pianoforte. 


An  appendix ;  n.-  hnMM0  or 

added  to  form  a  more  comph  lose. 

kont-sher-tau  -te).     In   the  style  of  a  concerto; 
concerted  with  other  instrmi. 

-  :iou    (usually   in  sonata 
form)  written  for  displaying  a  s->lo  instrument,  with   orches- 

mpanime!  -         -  BB  V). 

Con.-  .  ry  in  combination.     G 

;pon  the  ear  by  the 

that  tw"  -    'her  have  a  principle 

of  unity.     The  most   perfect  consonance   is  the  octave,  next 
th?  fifth    and   fourth   (Itoth  perfect);  thirds   and   sixt. 
classed  as  "imperfect"  consonances  in  musical  t: 

-     \\.  Matthews"   definition,  the 

content  of  a  piece  of  music  is  the  total  impression  it  leaves 
upon  the  most  cong-enial  hearer  or  all  the  author  has  put 
into  it,  technical  kn  ;  .  :iJ  skill,  imagination  and  feel- 

ing. 
Contrapuntal,  (k&n-tri-pun'-tl),     R  ;        count erpoint. 

".:    d.    1713.      Greatest    violin 

player  of  his  time.     He  laid  the  foundation  of  the  future  de- 
•Iniic.     II  -  : kms  advanced  tht-  : 

the  violin  as  a  solo  and  also  as  an  orchestral  instrument. 
Om-  of  the  fir-'  irtuosi  upon  the  violin  and  the  founder 

of  the  f:  :"  instrumental  and  orchestral  composit. 

Counterpoint.     The  art  of  writ insr   two  or  i 

pr  .       Double  counterpoint  is  the  art  of 

writing  I  hen  inverted. 

The  :  I  »lic   individuality  in 

the   added  voice,  and   a  flowing-  melodic  motion.     OouiittT- 
nt  in  its  fullest  extent  is  equivalent  to  a    complete    ;trt  of 

n  vent  ion. 
Cramer.  J.  B.    Ccra'-mgr);  b.  1771:  d.  1858.     One    of  the  prin- 

!e  founders  of  the  modern  ]  1.     A  prolifi 

composer  known  now  mainly  for  his  ••studies." 
Cre<lo.  (krl'-do).     I  believe;  f>i  .  -  jirincipalmovem- 

of  the  mass. 

CVucifixus,  (krn-si-fix'-us).     Part  of  the  Cre-<kin  SL  mass. 
Cum  Sancto  Spiritu.  (kiim    sank'-to    spir-i-tu).      Part   of  the 
ria  in  a  mass. 


DICTIONARY.  177 


Czerny,  (tschar'-ni) ;  h.  1791;  d.  1857.  Prominent  pianoforte 
teacher  and  composer  in  Vienna,  chiefly  celebrated  f  >r  his 
famous  "studies"  which  are  now  rapidly  falling  into  disuse. 

Dance  Macabre,  (dance  ma- ka'-br).  Dance  of  death.  The  title 
of  a  famous  symphony  by  Saint-Saens.  <>  E.) 

Da  Ponte  Lorenzo,  (lo-rend-zo  da  pon'-ta).  An  Italian  poet, 
born  at  Ceneda,  Venetian  states,  in  1749.  Havin_- 
exiled  from  Venice  for  speaking  disrespectfully  of  the  re- 
public, he  went  to  Vienna,  where  he  became  librettist  of 
Mozart,  writing  three  operas,  "Figaro."  "Cogi  fan  Tutti" 
and  "Don  Giovanni."  Died  in  New  York.  : 

!><•  Capo,  (da  ka'-po).     From  the  beginning. 

!>«•.-;  Pi-t-z,  Josquin  (zho'kanh  dup-pre').     See  Class  B. 

Dt-ucalion  and  Pyrrha.  Deucalion  and  his  wife  Pyrrha,  ac- 
cording to  the  Thessalian  legend  were  the  sole  survivors  of 
the  deluye.  To  re-people  the  land,  by  command  of  the 
oracle,  they  threw  behind  them  stones,  which  immediately 
turned  into  men  and  women. 

Diapason,  (dl-a-pa'-son).  Greek  term  meaning  "through  the 
octave,"  used  now  in  France  to  mean  "standard  of  pitch." 
The  English  use  it  to  name  the  fundamental  stops  of  the 
organ.  The  diapason  tone  of  the  organ  is  a  broad,  solid, 
dignified  tone  quality,  due  to  the  pipes  producing  it  being  of 
a  large  diameter  and  liberally  supplied  with  wind,  the  har- 
monics or  upper  partials,  also,  must  be  well  represented. 

Dies  Irae,  (di'-az  e'-ra).     A  principal  movement  in  a  Requiem. 

Die  letzen  Dinge,  (dee  lete'-zgnding'-ge).  "The  Last  Things." 
German  name  of  an  oratorio  by  Spohr.  In  English,  com- 
monly called  "The  Last  Judgment." 

Dissonance.  A  discord;  an  interval  or  chord  displeasing  to 
the  ear  and  requiring  to  be  followed  by  another  chord  in 
which  the  dissonant  note  is  resolved. 

Dolphin.  A  fish  celebrated  for  its  surprising  changes  of  color 
when  dy 

Dominant  Seventh.  A  chord  composed  of  the  tones  5,  7,  9  and 
11  of  the  key;  called  dominant  because  founded  upon  the 
fifth  of  the  key;  and  "seventh"  because  in  n«''r>f;on  to  a 
triad  it  has  also  the  seventh  from  the  root. 

Dona  Nobis.  (do-nii  no'-bis).  The  closing  movr-m^nt  of  the 
mass. 


]78  DICTIONARY. 


I>orian.  (do'-iv-.ui).  Tin;  name  of  one  of  the  ancient  modes  or 
scales. 

!>o\vland.  J.  An  English  composer  and  musician,  author  of 
many  books  and  songs. 

Dufay,  (dii'-fa).     See  Class  B. 

Eli/ai>fthan  Age.  Pertaining  to  England  during  the  reign  of 
OjHM-n  Eli/.abcth  from  ir>r»8  to  H>()3. 

Episode.  An  incidental  narrative  or  digression.  A  portion  of 
a  composition  not  founded  upon  the  principal  subject  or 
theme. 

Ernani,  (er-mi'-ng).  Italian  opera  founded  upon  Hugo's  novel. 
Music  by  Verdi,  Venice,  March,  1844. 

Et  Incarnatus,  (2t  in-kar-na'-tus).     A  part  of  the  Credo. 

Et  Resurrexit,  (et  res-ur-ex'it).     One  of  the  parts  of  the  Credo. 

Etude,  (a'-tud).  A  "study."  See  Etude,  unclassified  general 
card. 

Euripides,  (zoo-rip'-i-dez) .  Athenian  tragic  poet.  See  Class 
A,  Ancient  Greek  Music. 

FiHd,  John;  b.  Dublin,  1784;  d.  1837.  A  brilliant  pianist  and 
justly  celebrated  as  the  inventor  of  the  "nocturne." 

Finale,  (fe-na'-lg).  The  closing  movement  of  an  extended 
work ;  as  a  sonata,  symphony,  act  of  an  opera,  etc. 

Flageolet.     The  modern  form  of  the  old  straight  flute. 

Folk-song.     A  song  of  the  people. 

Gewandhaus.  (ge-vand'-hows) .  Gewandhaus  concerts.  These 
celebrated  concerts  originated  with  "das  grosze  concert"  at 
the  time  wlu-n  Bach  was  Cantor  of  the  St.  Thomas  School  at 
Leipsic.  The  Gewandhaus  proper  was  established  by  Ililler. 
They  consist  of  twenty  winter  concerts  and  two  benefit  con- 
certs. There  is  a  conductor  and  twelve  directors,  the  orches- 
tra numbering  seventy  performers. 

Glee,  a  vocal  composition  in  three  or  more  parts ;  a  part  song. 
English. 

Glinka,  (gliin'-ka).  Novospaskoi,  1803-1857.  A  Russian  com- 
poser whose  two  operas  are  considered  as  of  national  im- 
portance. They  were  among  the  first  and  best  of  Russian 
operas.  They  were,  "A  Life  for  the  Czar,"  1836;  "Russian 
and  Ludmilla,"  18)57. 

Gloria,  (glo'-ri-a).     One  of  the  principal  movements  of  a  mass. 


DICTIONARY.  179 


Gradus  ad  Parnassum,  (grii'-diis  iid  par-nas'-sum).  Road  to 
Parnassus.  Title  of  some  text  books  and  collection  of  etudes. 

Gratius  Aginius,  (gra'-shg-as  aj'-i-mus).  Part  of  the  Gloria  in 
a  mass. 

Grazioso,  (grat-se-o'-so).     Gracefully. 

Gregorian.  Of  or  pertaining  to  St.  Gregory  the  Great.  He 
established  the  four  "plagal"  scales  or  "modes,"  and  the 
"tones"  or  chants  ever  since  called  l>y  his  name. 

Gurlitt,  C.;  b.  1818,  at  Altona.  Author  of  compositions  for 
male  chorus,  piano  pieces  and  operas.  Best  known  as  com- 
poser of  poetic  piecas  for  piano. 

Harmonics.  Undertones.  The  tone  produced  by  the  fractions 
of  a  string  or  other  vibrating  body. 

Harpsichord.  An  instrument  similar  to  the  pianoforte,  except 
that  the  strings  were  plucked  by  means  of  quills  instead  of 
being  struck  by  hammers.  Invented  1600  or  earlier.  Went 
out  of  use  about  1800. 

Hebrides,  (hgb'-n-dez).  Name  commonly  applied  to  Mendels- 
sohn's concert  overture  to  Fin  gal's  Cave  in  13  minor,  (op.  26), 
which  he  wrote  in  1829,  after  a  visit  to  the  north  of  Scotland. 

Hegel,  (ha'-ggl).  Eminent  German  philosopher.  Celebrated 
in  music  for  his  admirable  works  upon  art  and  aethetics. 

Homophony.     Unison;  one  or  more  voices  singing  in  unison. 

Hosanna,  (ho-zan'-na).     Part  of  the  Sanctus  in  a  mass. 

Hummel,  J.  N.  (hum'-mel)  ;  b.  1778;  d.  ISUT.  A  celebrated 
pianist  and  composer. 

Hyblian,  (hi-ble'-an).  Pertaining  to  Hybla,  an  ancient  city  in 
Sicily,  celebrated  for  the  honey  produced  on  the  neighboring 
hills". 

II  Trovatore,  (el  tro'-va-t&'-reh;.  The  Trouluulour.  Celebrated 
opera  by  Verdi,  Rome  ]xVi. 

Imitation.     The  repetition  of  a  phrase  or  subject. 

Imitation,  Strict.  An  exact  repetition  or  slightly  modified  repe- 
tition according  to  certain  rules  as  exemplified  in  Canon  and 
Fugue. 

Improvisation.  The  act  of  singing,  playing  or  composing  music 
without  previous  preparation. 

Intermezzo,  (in-ter-met'-so.)  Interlude  or  detached  piece,  often 
a  dance  played  between  the  acts  of  a  drama.  Used  by  Schu- 


180  DICTIONARY. 


ninnii  mid  others  for  short  pieoes  in  a  series  having- the  char- 
acter of  interlude  pieces. 

Interlude.  A  composition  played  between  two  important 
members  of  a  composition. 

Kitliara,  (kith'-a-ra) .  The  lute;  an  old  instrument  of  the 
guitar  kind. 

Koehler,  Louis,  (ka'-ler)  ;  b  Brunswick,  1S_M.  Musical  director 
at  Koir.gsburg.  Celebrated  as  a  piano  teacher;  editor  and 
writer  of  educational  works. 

ki-eisleriana,(kris'-lcr  i-an'-a).  A  set  of  eight  pieces  for  piano 
solo  by  Scluiinann  (op.  1(5)  dedicated  to  Chopin. 

Kiihnau,  J.  (koo'-now)  Geysing,  I''>fi7-172'3.  A  remarkable 
musician  who  became  musical  director  of  Leipsic  University 
and  conductor  of  St.  Thomas  School.  Invented  the  sonata  as 
a  piece  in  several  movenifn's,  wrote  dance  tunes  and  was 
the  greatest  composer  for  llarpischord  up  to  Bach. 

La  (ia//a  Ladra,  (lagats'-sala-dra') .  ''The Thieving  Mag-pie," 
opera  by  Rossini,  libretto  (rherardini,  produced  at  Milan, 
1817. 

Lamartine,  (lii-mar-tcn') .  A  brilliant  French  writer.  B.  1792; 
d.  istV.t.  Noted  as  poet,  historian  and  statesman. 

Lussus,  Orlando,  (or- lan'-do  las'-sus).     See  Class  B. 

La  Traviata,  (la  trii'-ve-a'-ta).  An  opera  by  Verdi  produced 
at  Venice,  March  1S53. 

I/  Momne  Anne,  (lom-ar-ma'}.  "The  Armed  Man,"  the  name 
of  an  old  French  Chanson  the  melody  of  which  was  used  by 
many  of  the  Netherlandish  masters  as  subject  for  movements 
in  masses  and  other  compositions. 

Libera  Me,  (lo'-bfi-rii  ma).  "Deliver  me,  O  Lord,"  one  of  the 
hymns  from  the  ftoman  Catjiolic  Ite&ponswhini  used  at  the  end 
of  the  Requiem  mass  on  solemn  occasions. 

Litoltf,  II.  C.,  (ht'-olf);  b.  London,  1818.  Pupil  of  Moscheles 
and  eminent  j>ia!iist  and  composer. 

Loeschhorn,  A  ,  (lash'-orn)  ;  b.  Berlin,  1819.  Pianoforte  pro- 
fessor in  Berlin.  Author  of  many  valuable  and  well  known 
etude.s. 

Lohengrin.  Three  act  dramatic  opera  by  Wagner.  Composed 
in  1*47  and  produced  at  Weimar  by  Liszt  in  1850. 

Magniticato,  (mag-nif-O-ca'-to) .  Part  of  the  evening  service  of 
the  Catholic  Church. 


DICTIONARY.  181 


Marbecke,  J. ;  d.  1585.  Adapted  old  plain  song  of  Latin  ser- 
vices to  English  book  of  common  prayer. 

M'-Tfssille.  Calm  at  Sea  and  Prosperous  Voyage,  poem  by 
Goethe.  See  Manual  of  Music,  p.  3f>,s.  revised  edition. 

Mensural.  Applied  especially  to  music  to  which  measure  was 
applied  See  Class  13. 

Mepliistopheles,  (met- is  tof'-e  l&.) .  The  Devil.  Name  ap- 
plied to  the  Satanic  character  in  Goethe's  Faust. 

Midsummer's  Night's  Dream.  Music,  for  this  play  by  Mendels- 
sohn. (1)  An  overture,  1827;  (2)  Twelve  numbers  pro- 
duced by  command  of  the  King  of  Prussia.  1843. 

Millais.  John  E  .  (mil-la' j.     An  English  painter. 

Modal,  (mo'-dal).  Pertaining  to  mode  or  mood;  relating  to 
form.  Having  the  form  withi  ut  the  essence  or  reality. 

Monody,  (mon'  o-dy).     A  composition  upon  one  subject. 

Monothetic.  ( moil- o-thfit'-ic).  Implying  a  single  essential 
element. 

Monophony.  (mon'- o-fo-ni).      Same  as  monody. 

Motive      A  short  fragment  of  melivdy  usually  one   measure  in 

.   length  usi-d  as  a  pattern,  model,  design. 

Morl'-y.  'I  Immas.  Pupil  of  Bird  in  16th  century.  Noted 
Ei.glish  composer. 

Motet.  A  short  vocal  composition  for  church  use;  nearly 
•Mjiiivalent  to  anthem. 

Mueller,  Max,  (mel'-Ier).     German-English  Sanscript  scholar. 

Nei-i.  San  Phillippo,  (na'-re).  Italian  founder  of  the  society 
"Priests  of  the  Oratory." 

Node.  Point  of  division  in  a  string  when  it  is  vibrating  in 
fractions. 

;ion.  The  manner  of  representing  to  the  eye.  Musical 
notation  comprises  lines  and  spaces  representing  scale  de- 
grees, the  clefs  determining  the  absolute  pitch  intended  by 
the  lilies  and  spaces,  notes  indicating  the  number  of  musical 
utterances  required,  and  by  their  forms  the  relative  length 
of  utterance. 

Oboe,  (ho'-bo).  A  modern  reed  instrument  of  two-foot  tone 
borrowing  one  or  two  semitones  from  the  octave  above,  it 
is  played  with  a  doulile  reed. 

Oflertorio,  (5f-fer-to'-re-o).  A  hymn,  anthem  or  instrumental 
piece  sung  or  played  during  the  collection  of  the  oflertory. 


182  DICTIONARY. 


Offertorimn.     Same  as  Offertorio. 

Okegham.  (o'-kfx-gliem).     See  Class  B. 

OJHIS,  (u'-pus).     Work,     Used  to  number  the  published  works 

of  a  composer  in  the  order  of  publication,  as  Op.l,  Op.  2.  etc. 
Overture.     A  piece  introducing-  an  opera  or  play.       Usually  in 

sonata  form,  and  generally  intended  to  foreshadow  the  emo- 

tional contents  of  what  is  to  follow. 
Palestrina.  (pal-fi-stre'-na).     See  Class  B. 
Phoi  minx,  (for'-mmx).     Alyi--. 
Pianissimo.  (pc-an-Os'-se-mo)  .     Extremely  soft. 
l'i//cato.  (pet-se-kii'  to).     Pinched.     A  direction  to   pick   the 

strings  of  a  violin,  etc.  with  the  ringers,  producing  a  staccato 

effect. 
Plagal  Cadence.     Applied  to  the  close  made  by  the  under-rifth 

(sub-dominant)  chord  followed  by  the  tonic. 
Plagal    Modes.      Opposed   to    "authentic."       Ancient    church 

modes  or  scales  running  from  under-tifth  of  the  "authentic" 


Polyphony,    (po'-lif-u  in).    "Many  sounds."        I'sed  of  music 

with  two  or  more  independent  voice  pj.rts  or  melodies    pro- 

ceeding simultaneously. 
Polythetic.     Plurality  of  parts. 
Pot-pourri,  (pot-poor-  re).     A  medley. 
Prelude,  (prtMnde).     A  preparatory  passage  or  movement  in- 

tended to  lead  to  something  else. 
Presto,  (pres'-to)      Quick,  rapid. 
Programme-music.     Music  intended  to   express  the  succession 

of  emotions  suitable  to  the  successive   incidents  of  a  story. 

and  perhaps  also  to  suggest  those  incidents 
Ptolemy.    Claudius,   (tol'-e-mi).       Greek-Egyptian  astronomer 

and  geometer.     Was  also  a  learned  theorist  in  the  mathe- 

matics of  music.     In  his  "Harmonik"  he  gives  a  summary  of 

all  the  Greek  learning  upon  this  subject.      Lived  at  Alexan- 

dria about  200  B.  C. 
Purcell,  H.;  1658-1692.     English  composer  of  songs,  overtures 

and  operas,  and  chamber  music  of  great  merit.     Did  much 

to  advance  and  elevate  art  in  England. 
Rebec.     A  Moorish  word  signifying  an   instrument   with   two 

strings,  played  with  a  bow. 


DICTIONARY  183 


Recitative,  (r?-si-ta-tev').  See  Characterization  of  Opera. 
Claw 

Reinecke,  Karl,  (rln'-ek-e) ;  b.  1S24.  Eminent  German  per- 
former, conductor  and  composer. 

Rigoletti,  (rC--go-la'-to).     Opera  by  Verdi. 

Rinuccini,  (re-noo-tache'-ne) .  Wrote  the  words  of  Eurydice. 
the  first  opera. 

Rondo,  (ron'-do).  A  round;  piece  in  winch  the  principal 
theme  constantly  reappears  with  connected  links  between 
the  repetitions. 

Round.     A  species   of  canon   in  the  unison  or  octave,  a 
vocal  composition  in  three  or  more  parts,  all  written  in  the 
same  clef,  the  performers  singing  each  part  in  succession. 

Sanctus.  (sank'-tus).  Holy.  One  of  the  principal  movements 
of  the  mass. 

Semirade,  (sa-me-ra'-dgh) .     Opera  by  Rossini,  Venice.  1^'J.;. 

Scherzo,  (skart'-so).     Play;  sport;  jest. 

Schmitt,  Aloys,  (shmit)  ;  1789-1 866.  Distinguished  as  a  piano- 
forte teacher  and  as  a  voluminous  writer  of  studies  and 
pieces  for  his  instrument. 

Sixtrtte.      A  composition  introducing-  six  void 

Saloman  Symphonies.     A    Series    of  twelve  symphonies   com- 
.  by  Haydn,  and  first  intnxluced  at  Philharmonic  c««n- 
.  London. 
:re.  (sci-na'-r6).     To  sound. 

Soj>hocles.  (sor-o-kliz) .     Greek  tragic  poet. 

Stabat-Mater,  (sta'-bat  mat'-tgr).  "The  mother  etood."  A 
hymn  on  the  Crucifix. 

Stretta.  (strat'-ta).  Concluding  passage  taken  in  quicker  time 
to  enhance  the  effect. 

Suite,  (sweet).  A  series  of  pieces  to  be  played  in  connection. 
The  suites  of  Bach  and  Handel  had  six  or  eight  pieces,  all 
in  the  same  key.  and  contrasted  in  tempo  and  character. 

Sussemeyer.  F.,  (siis'-mi-er)  :  1766-1803.  Director  and  com- 
poser to  National  Theatre.  Vienna.  17!'">.  Friend  of  Mozart 
and  composer  of  operas,  etc. 

Tallis.  Thomas.  Court  organist  to  Henry  VIII;  d.  1585.  The 
greatest  benefactor  of  English  church  music.  One  of  the 
greatest  contrapuntists. 


184  DICTIONARY, 


Tartini,  fj.,    (tar-te'-ne)  ;    1692-1770.     Leading  violinist  of  his 

time.     Founded  a  violin  school  and  new  system  of  harmony. 
Tarantelle,  (tar-an-ta'-lc > .     A  whirling,  swift  Neapolitan  dance 

in  «>-S  time. 
Tausig.  C.,  (t.  iMl-l>71.     Pupil  of   Liszt,  and  one  of 

the  very  greatest  pian: 
Te  Dsam  Ltulimus.    (tS-da'-um   lau'-da-mus).     We    pi 

Thee.     A  hymn  of  pra: 

re,  (t.lmlihr).     Quality  of  tone  or  sound 
Tonic-triad.     A  triad  on  the  tonic  or  fundamental  tone    in    the 

major  or  minor. 
Triplet.     A  group  of  three  notes  played   in    the  usual   time  of 

two  similar  ones. 

Troubadour.     A  ban!  and  poet-musician  of  the  middle  ages. 
Ts.-haik.'wsky.    Peter,    (tschi-kotf -ski    :  !•.    1M<>.     Prominent 

Russian  composer  of  the  modern  school, 
Tutti,  (toot'-te).     All  the  strings. 
Veda.     The  ancient  sacred  literature  of  the  Hindoos, 
Vikings.     The  pirate  chiefs  from  among  the   Northmen,  who 

plundered  the  coasts  of  Europe  during  the  Sth  and  9th  <  .-n- 

tur 

Virtuoso,  (vcr-too-o'-zo).     A  mastferly  performer 
Willaert,  Adrian,  (vil-larf).     See  Class  B. 

Weelkes,  Thomas.     Organist  of  Winchester  and  author  of  mad- 
rigals printed  in  1597. 
Zarlino.  G.,  (tsdr-le-no)  :  l."I7-l -V.»<).     Organist  and  director  at 

Saint  Marks,  at  Venice.      Distinguished   as   a   theorist   and 

composer. 


INDEX. 


185 


GENERAL  INDEX. 


Page. 


AMBROSE.    ST.,    Early    Ec.-lesiastical    Music  /  ^e^la,r 

i  Normal       ••      (Hi 

Ancient  Egyptian  Music.  .  .     -*^eg'' 

/  Nor.  K 

Ancient  Greek  Music.  .  .    j  Seg'  "      -'' 

'\Nor.  ••      ;m 

Ancient  Hindoo  Music. ..  .    /  Segg 

\  Nor.  ••      «J5 

BACH,  C.  P.  E.. 

Sonata  in  F  Minor.  .  -J  ?eff>  "      68 

•\Nor.  "    112 

BACH,  J.  S., 

Oratorio,  Passion  Music.  .  .  .  /  i;e^' 

\Nor.  ••    11)4 

DBETHOVEy.   Ll  DWHI   VAN. 

Concerto.  "Emperor"  E  Flat  op.  73 ....  j  ****'  "    1  ;^ 

Opera,   Fidelio.  .  )  £eg.  "      37 

/  Nor.  ••    ID'2 

Oratorio,  Mount  of  Olives..  .  *  ^reg-- 

/  Nor.  •    in.) 

Quartet,  E  Flat  op.  131 .*  ^'  '      "; 

Sonata.  Appassioiiata.  .  -*  ^e^'  '      66 

i  Nor.  •    113 

Song,  Adelaide /£««[•  .'      ™ 

Symphony,  Fifth  in  C  Minor >  J^'  [    ^ 

BISHOP,  SIR  HKXRY, 

Song,  Home  Sweet  Home .  .  I  **eg'1 

\Nor.  •'    119 

BRAHMS,  JOHA> 

Quartet  in  C  Minor j  ^'  "      JJ 

I'A\  M.IKRK.  EMILIO  DP:L, 

Oratorio.  Repreaentatkm  of  the  Soul  and  \  Reg.  %>  4u 

B'xly (i  Nor.  "  104 

Chamber  Music.  Definition  of  Qualities  and  ^  Reg.  "  70 

Characterization '»  Nor.  "  115 


186  INDEX. 

CHOPIN,  FUKDKRIC,  Page. 

f  Reg.  Course 
Comvrto  in  E  minor  op.  11  ............  <  j^o°  t 

a!  in  Music.  The  ..................  -.  Nor 

(  'tim-i-rto,  Definition  of  Qualities    and  Char-  (  Reg. 
acteri/.ation  ...........  ,  ..............  (  Nor. 

iMinition  of  Music.     Its  beginnings  ........  <     -' 


Quartet  for  Strings,  G  Minor  .........  j 


Oratorio,  Creation <  XTe^ 

\  Nor 

Sonata  in   E  Flat -* 

Symphony,  "Oxford" j 


Nor. 


58 
111 

86 
120 

56 
110 

11 

93 

DuNI/.l-.l  II.  (i  AKT  \SO, 

Opera.  Lucia  di  Lammermoor j  No?'  "    103 

(  Reg.  "      28 

Dutay  and  Early  Polyphony j  plo°  tl       ,(_ 

Early   Christian    Music,   Distinctive    Char-  \  Reg.  "      23 

BTfflf /Nor.  "      96 

Etude.  Qualities  of -j  ^  .')    jg 

(  Reg.  "      si 

JNor.  «    121 

FAI-RK.  J.  P. 

g .  Palm  Branches | 

Franco  of  Cologne  and  Franco  of  Paris -!  M  OT 

f     J^l  OI*.  if  I 


...................  ............          ::   f 

GLITK.  C'lriiisToriiKR, 
Opera,  Orpheus,.. 


.  . 
GOONOD,  CHARLES, 

Onera     F-iust  i  Re^'  "      4° 

'  '  '  \  " 

Gregory  the  Great,  St.,  and  his  Reforms.  .  .  j 
,  EDWARD, 


Nor.  "    103 


Guido.  Sc.lmi/ation  and  Staff i  IV  "      <r 

HAYDN.  FKANCKS  JOSEPH, 

ir. 
ID.-) 

C,4 
112 

54 
107 


INDEX.  187 

HANDEL,  G.  F. ,  Page. 

Oratorio,   Messiah..  ..  {  *£ ;  Course'  j* 

History  of  Music ;  Reasons  why  it  should  be  f  Reg.  84 

Studied \  Nor.  120 

Hucbald,  Diaphony,  Organum  and  Notation.  - 


97 
INSTRUCTIONS 125 

i  Specific  Cards 125 

CLASSIFICATION  OF  CARDS.  <  Classified  General  Cards. . .  .125 

(Unclassified  General  Cards.  .126 

How  Books  are  Composed 126 

Value  of  Books 127 

How  to  Acquire  the  Cards 129 

Requirements  of  the  Progressive  Grades 131 

Normal  Course  (Instructions.) 153 

Normal  Course  (Questions.) 93 

Supplementary  Rules  and  Suggestions 160 

LASSUS,  ORLANDO,  and  His  Place  in  Art \  xr^ 

{  IN  or.  yy 

LISZT.  FRANZ. 

Concerto:  First  in  E  Flat  major j  R 


Symphony,  Les  Preludes  ..............  j  N^'  44  log 

Literary  Interpretation  in  Musical  ^Esthetics  <  j^or  *»  i  OA 

LULLI,  J.  B., 

f  Reg.  "  35 

Opera,  Armide  ........................  \  Nor.  "  101 

LfTHER.  MARTIN,  and  the  Protestant  Chorale,  j          ' 


Madrigal,  and  its  Related  Part  Songs,  The,  -I  j^of  ««  122 

j  Reg-  "  91 

Mass  ......................................  \Nor.  "  122 

MATTEI,  TITO, 

XT              tr                                                                     J  Reg-  "  " 

Song,  None  Ver  ......................  j  Nor.  ••  118 

f  Reg.  "  26 

Mediaeval  Secular  Music  ..................  -s  jjo^  t,  gg 


MENDELSSOHN,  FELIX, 

Concerto  in  F  Minor  ..................  j  jjor  "    111 

i  Reg.  "      46 

Oratorio,  Elijah  ..................  -j  Nor  tt    1Q5 

Symphony,  Scotch  in  A  Minor  op.  56.  .  j  Nor.'  "    108 

MEYERBEER.  GIACOMO, 

Opera.  The  Huguenots  ................  { 

13 


INDEX. 

Page 


Opera.  Don  Giovanni.  .  ....  .....  | 

Sonata  in  C  Minor  ....................  j  **£  ."    ^ 

Symphony.  ••Jupiter."  -[  **£  [[     ^ 

rn,.  .............  ..*«' 

"    122 


Okeghain.  Des  Pres,  Willat-rt  and  Gombert.  j  Sep- 

(^  IN  Ol*.  tro 

(  >lM-.-a.  rharai-terisation  "f  .................  -J 

.  D.'Hnition  of  Qualities  of  ............  | 

Oratorio,  Detinition  of  Qualities  and   Char-  \  Reg.  ••      42 

,    acterization  of  .....  ......  /Nor.  ••     104 

PACAXIM.   Nn 

Concerto  in  E  Minor  ...................  -J  ^J;  ].'    ]  ^ 

:  HI.N  A  and  Pure  Church  Music  ........  -) 

PKKI.  JACOPO. 

Open,   Eurvdice..  .  j 

Principles  of  the  Beautiful,  The  ............  { 


Pronunciation,  Key  to..  /  Re8T-  "  33 

\Nor.  ••  124 

Requiem  ......                                                        \  Reg.  "  87 

"/  Nor.  ••  123 

Romantic,  Definition  of  the..                             /  Reir-  "  90 

(Nor.  ••  124 
KOSSIXI,  GIOACHINO, 

Opera,  William  Tell  ..                                 (Reg-  "  38 

'  '  1  Nor.  "  102 
.  AXTON, 


Trio.  B  Flat  Major  op.  52  ..............  .»  R«g-  "  70 

SAIXT-SAKNS.  CHARLES  C.,                                       S"r<  U6 

Concerto  in  G  Minor..                                 j  Reg~-  "  60 

/  Nor.  ••  110 

Quintet  for  Piano  and  Strings  .  .               .  /  Re£-  "  "3 

'   \Nor.  •«  116 

Symphony.  Dance  of  Death                         /  Re§T-  "  53 

'  \  Nor.  "  109 


INDEX,  189 

SCARLATTI,  A.,  Page 

„,     ,                                                   /  Reg.  Course,    35 

Opera,  Teodora  .......................  j  N(£  4i»  1Ql 

SCHUBERT.  FRANZ. 


{Ree  "  74 

Nor.'  "  115 

(  Reg.  "  66 

Sonata  in  A  Minor  .....................  j  ™°  4t  -.  ,o 

f  Reg.  "  76 

Song,  Erl  King  ........................  ^  No«  „  ng 

f  Reg.  "  52 

Symphony  in  C  Major  .................  j  No°_  „  1Qg 


SCHUMAXX.  ROBERT, 


(  Reg. 
J       ° 


„  .  _,. 

Concerto  in  A  Minor  ..................   . 

( 
Quintet  in  E  Flat  ....................  ]  y 

Sonata  in  G  Minor  op.  22  ..............  <  Nor. 


Song,  He,  the  Noblest 


i  Reg 

-     - 


Sonata.  Definition  of  Qualities  and  Charac-  \  Reg. 
terization  of.  ..........................  /  Nor. 

Song,  Definition  of  Qualities  and  Character-  (  Reg-. 


58 
^j  -, 

74 
jjg 

114 

77 
-^ 

63 
112 
75 
ization  of  .............................  \  Nor.  "    118 

Song  Without  Words  .......................  j 

SPOHR,  LTDWIG, 

Oratorio,  Last  Judgment  ...............  -j 

STLLIVAX,  SIR  ARTHUR, 

Song,  Lost  Chord  .  .  .  .  .  {  g^-  ;|    f  J8 

Symphony.  Definition  of  Qualities  and  Char-  f  Reg.  "      49 

acterization  of  ........................  \  Nor.  "    lt)7 

^e  Beum  /  Re^' 

••\Nor.  ••    123 

Typical  Musical  Forms  ....................  -j 

VEBDI,  G.. 


WAUXER,  RICHARD, 

Opera,  Tristan  and  Isolde  .............  <  XT  ^'  ..    IA-> 

WEBER  CARL  vox, 

TA      ^     •     u  i  Reg-  "      38 

Opera,  Der  Freischuetz  ................  -  -»r  °  ..    ,()0 


c,        .     •  \  R^ff-  "      69 

Sonata  in  A  Flat  ......................  -  mrjl  ..    110 


